ca€cl la

Constitution on the Sacred Liturgy

VOLUME 90, NO. 4 WINTER, 1963-64

5 Twelfth Annual Liturgical Music Workshop

AUGUST 16.28, 1964

BOYS TOWN, NEBRASKA

Flor Peeters, Mechelen, Belgium Organ Cornelius Bouman, University of Nijmegen, Holland Liturgy Francis Brunner, Chicago, Illinois Seminars Richard Schuler, College of St. Thomas, St. Paul, Minnesota History Francis Schmitt, Boys Town - Boy Roger Wagner, University of California at Los Angeles Polyphony, Contemporary Music Kathleen Thomerson Organ

Inquire Music Department Boys Town, Nebraska

CAECILIA Published four times a year, Spring, Summer, Autumn and Winter. Second-Class Postage Paid at Omaha, Nebraska Subscription Price-~3.00 per year All articles for publication must be in the hands of the editor, 3558 Cass St., Omaha 31, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the circulation manager: Paul Sing, 3558 Cass St., Omaha 31, Nebraska PosUnaster: Form 3579 to Caecilia, 3558 Cass St., Omaha 31, Nebr. TABLE OF CONTENTS

The Cappella Sistina-Richard Schuler _ 143

The Use of Grtgorian Psalmody with the English Language Robert Wurm ------161

The Present Sta1e of Music in Catholic Colleges and Universities Lavern Wagner 166

Review

Books 179

Concerts 182

Masses _____ 184

Motets 185

Organ Music 187

Constitution on de Sacred Liturgy - 188

VOLUME 90, N"O. 4 WINTER, 1963 ..64

RONCKABROS.~OMAHA.NEBR. CAECILIA A Quarterly Review devoted to the liturgical music apostolate.

Published with ecclesiastical approval by the Society of Saint Caecilia in Spring, Summer, Autumn and Winter. Established in 1874 by John B. Singen-Qerger, K.C.S.G., K.C.S.S. (1849-1924).

Editor ------c---- __ Very Rev. Msgr. Francis P. Schmitt

CONTRIBUTING EDITORS FrancisA. Brunner, C.Ss.R. Elmer Pfeil Louise Cuyler Richard Schuler David Greenwood Lavern Wagner Paul Koch Roger Wagner Paul Manz Abbot Rembert Weakland, O.S.B. C. Alexander Peloquin James Welch

CAECILIA ASSOCIATES Dr. Caspar Koch, Pittsburgh, Pa.· The Hon. Arthur Reilly, Boston, Mass. Sr. Alphonse Marie, C.P.P.S., Eugene Leahy, Notre Dame, Ind. O'Fallon, Mo. Emmanuel Leemans. Boys Town, Alfred Bichsel, Rochester, N.Y.. Nebr. Cornelius Bouman, Nijmegen, Edward Malone, OS.B., Elkhorn, Holland Nebr. Martin Bush, Omaha, Nebr. Dom Gregory Murtay, Downside George Carthage, St. Cloud, Minn. Abbey, England Flor Peeters, Mechden, Belgium Sr. Casimir, O.P., Omaha, Nebr. Rev. Fred Reece, Suart, Ia. Rev. Charles Dreisoerner, Myron Roberts, Liocoln, Nebr. San Antonio, Tex. Sr. Rosalie, O.P., I-:astings, Nebr. Rev. Laurence Feininger, Trento, George Schaefer, Gnaha, Nebr. Italy Dom Ireneo Segarrl, Montserrat, Winifred Flanagan, Omaha, Nebr. Spain Terence Gahagan, London, England Eugene Selhorst, Rochester, N. Y. Rev. Ferdinand Haberl, Regensburg, Frank Szynskie, Beys Town, Nebr. Germany Sr. Theophane, O.S.F., Milwaukee, Anton Heiller, Vienna, Austria Wise. PaulI-Iume, Washington, D.C. Irvin Udulutch, OF.M., Marathon, Ralph ]usko, Cincinnati, O. Wise. Aloysius Knoll, O.F.M. Cap., Omer Westendorf,Cincinnati, O. Herman, Pa. Rev. Russell Woolen, Washington, Ernst C. Krohn, St. Louis, Mo. D.C. Jean Langlais, ,Paris, France John Yonkman, Ft Wayne, Ind. Managing Editor ------__ Norbert T. Letter Library ------_------Ferenc Denes Circulation __ -__ ------__ -_ ------Paul Sing

Subscription Price: ~3.00; Additional Single Gpy 75¢ Editorial and Business Address: 3558 Cass St., Omaht 31, Nebraska CHAPTER II THE CAPPELLA SISTINA Nearly half of Nanino's life was spent as a member of the Cappella Pontificia. He served the popes from October, 1577, until his death in March, 1607. Being a papal singer was his full,time occupation. If· one investigates the rules of the college of singers, it becomes evident that the duties were many and the obligations very confining for the members. It was indeed a kind of way of life, a vocation for those who undertook to belong to the pope's choir. They were considered to be members of the papal household. Their daily service required that they be in at all times, except when permission was given specifically to go outside the city for very special reasons. For an institution with a history that extends over nearly the entire Christian era and includes within its membership so many of the great musicians of every century, the Cappella Sistina is sur; prisingly very little known.· One reason alleged for this attributes the cappella's escape of the i attention of historians to the fact that all the members of the choir were bound to secrecy.1 All talk about the customs and arrangements of the college was forbidden to be communicated to outsiders.! In reality, a great deal of information about the cappella, especially in the sixteenth century, is contained in the archives of the chapel, all of which today is very accessible. The papal chapel is th~ most ancient and the most famous of all musical eEtablishments,. ecclesiastical .or courtly, throughout Europe. It did, in fact, serve as a model for many others. Its early history, like so many events of the early Christian centuries, is somewhat obscure, but there seems little doubt that a long tradition of training singers for the church existed even before the time of 2 Saint Gregory the Great. • The original name for the group of singers who fU1ctioned in connection with the papal liturgy was schola cantorun, in use at least from the time of Saint Gregory's pontificate (490;604). 3 When the popes moved their residence to Avignon in the fourteenth century, Pope Clement V (1305;1314) organized a ne\# choir there, made up of French singers, to replace the Roman sch~la cantorum which did not journey to France with the pope. Greg:>ry XI (1370;13 78) returned to Rome in 1377 and brought with hin his cappella which he joined with the Roman choir. This ushered in a remarkable period for the papal singers, which lasted through be fifteenth and sixteenth centuries. The French influence was doninant in the fifteenth century even after the return from Avignon. Not only the kind of music sung, but the very names

143 for the officials of the choir, show that the old Roman sehola can" torum had been replaced by the new organization. The new choir was known as the Collegio dei cappellani cantori della cappella pontifieia, or in short, the cappella pontifieia. 4 Theprimieerius (the first of the singers whose names were inscribed in wax: primus in cera) became known as the maestro di cappella; and the old music of the Roman curia was replaced by the new music of fourteenth century France.5 Pope. Sixtus IV (1471 -- 1484) built the Sistine chapel in the Vatican palace to be the church for the ordinary pontifical cere" monies. He was following the practice that grew up at Avignon of confining the papal liturgy to a single chapel, thus replacing the former custom of going from church to church (called stationes) as was the ancient Roman practice.6 In 1480, Sixtus re"established the cappella pontifieia as a permanent cantoria reserved for papal func" tions alone, and since most of these ceremonies took place in the Sistine chapel, the term Cappella Sistina as a designation for the papal singers dates from this period. The real golden age of the Cappella Sistina extends from the late fifteenth century into a mid--seventeenth century. The roster of its members reads like a list of that period'ls musical great. Josquin des Pres, Gaspard van Weerbecke, Constanza Festa, Cristoforo Morales, Jacob Arcadelt, Giovanni Pierluigi da Palestrina, Felice Anerio, Luca Marenzio, and Tomas Ludovisi da Vttoria are only a few of the musicians from all parts of Europe who spent some part of their lives in the papal service. An organization with such a history and with such an inter" national reputation would have to have rules to maintain its stan" dards, examinations to select its members, and statutes to preserve its customs and ancient traditions, as well as to aESure peace and order among its members. Fortunately, for the period of the six" teenth century, a rich collection of documents is rreserved in the Vatican Library about the Cappella Sistina. Papal di~ectives, diaries, registers, financial statements, as well as correspon.dence between singets and officials, make up the evidence of the life and activity of that period.7 Matteo Fornari, in his history of the pontificGl chapel, points totwo papal directives that are of especial importarce to the period of Nanino, since the choir was functioning under trum at that time. 8 One is the Constitution of Pope Paul III, Roma capta,9 and the other is the Bull of Pope Sixtus V, In suprema. 10

144 Issued in 1'54'5, Paul Ill's decree undertook the restoration of the cappella after the devastating sack of Rome in 1527, which left all ecclesiastical life as well as artistic activity in the city nearly at a standstill. It is a most detailed and comprehensive order touch" ing on each phase of the singer's obligation, but particularly spelling out the various financial arrangements that could become the occa" sian .for disputes and misunderstandings. The document forms a marvelous instrument for operating such a close g,roup. as the singers were. It leaves no doubt about what is expected of each, and the remuneration for their services together with the fines for failures toward that service are all carefully listed.11 Before a candidate was admitted into the cappella, an exam" ination into his life and morals was made. A further exam into his musical skills followed and included five areas of questioning: 1) Hashe a good and perfect voice? 2) Can he sing figured music well? 3) Can he sing counterpoint sufficiently? 4) Can he sing plain chant? 5) Can he read well?12 A secret meeting of the maestro di cappella and the older singers who were interrogated singly about the candidates settled the matter of his acceptance or rejection. A two"thirds vote, plus one extra, was sufficient for admission.13 A successful candidate was then· given the cotta (a white linen vestment, otherwise called a surplice), a symbol of his admission for life, by the maestro di cappella, before whom he knelt and took the oath of fidelity to the pope on the holy scriptures.14 After he kissed the hand of the maestro, he embraced the older singers and received the pax (kiss of peace) from them.15 Then there were financial arrangements, which take up a great

I part of Pope Paul's decree. If a new singer was admitted before the twentieth of the month, he got full pay for that month. How" ever, he had to play two ducats for the cotta16 and three scudi for the right of litigandi in Rota (bringing a case before the court) and another ten ducats to take part in the division of any bonuses (regalia) given to the choir.17 Chanters were bound to observe silence during the office and wear the cotta, Conversations as well as reading were forbidden to" gether with the showing of new music during the Mass or the Office. If any infractions of these rules were noted at a papal Mass or in the presence of tIE , the culprit's salary was for" feited.18 Since the ~appella existed for the exclusive service of the papal household, no anger was allowed to accept work outside the chapel.

145 If he did carry on the divine office outside, he was fined ten julii for Mass and Vespers, and if he reported pay· from the outside in excess of ten julii, that sum was deducted from his salary or gifts. Even if he had permission from the prefect to sing outside, his stipend for the work was divided among all the papal singers. A papal singer was not allowed to accept a salary or gifts from a patron; exclusion from the cappella was the penalty for such a misdemeanor; and if he were re,admitted he would lose all seniority.19 Thus reduced to the last place, such jobs as moving the books and preparing the music for processions would fall to him. 20 Apparently all was not always peaceful even among so dis-­ tinguished a group, since the Constitution of Paul III provides for quarrels and fights among the singers. If the affair occurred in the presence of the pope and the cardinals it was more serious and could be judged by the maestro di cappella alone. A singer con' victed of such could, however, seek the intervention of ·the pope. To reveal the secrets of the college was a grave offense also; it was treated as perjury and carried a grave penalty.21 Because the singers "vere members of the papal household (cappellani) , they were expected to appear in decent and fitting attire. For a singer to go publicly through the city in secular garb was an offense.22 If a singer had important business taking him out of the city, he could propose his case and get permission to be absent up to ten months if he had to go ultra montes. In Italy, he could have five months. During this period his usual salary was paid, but these permissions were granted only to those who had at least five years of service. If he should exceed the allotted time and remain abroad I for several years, he could be re,admitted when he returned, but he could not expect a salary for the time that he was ab5ent. 23 For the singer who had served twenty,five yeGrs (jubilaeus) , certain privileges were granted. He was exempt frOID attending the ordinary daily office, and was able to come a little nrdy (after the ·first Kyrie) without sanction. His presence was always required for the great feasts or ·when the pope and the coll€ge of cardinals were present.24 A sick singer could be excused, but· if ,he was detected going about the city doing business of any nature, he WGS fined double. Usually the sick leave was for ten days. If anyone Gn sick leave did attend an important function with a special bonus at:ached, he could not expect to get his share unless he also attended the ordinary

146 services of the following days. f\. singer sick longer than a year received his salary but none of the bonuses. 25 When one of the singers died, the maestro di cappella, the sacristan, all the singers, the clerics, the copyists (scriptores) and the librarian went to escort the body of the deceased to the grave. They walked two by two in order of seniority and sang the Libera me Domine in figured music. The heirs of the deceased were given his salary for that month; if he had no heirs the sum was given to the poor as an alms for his soul. The salary for the following month was used for the funeral expenses, which included the buying of two candles to burn on his grave and four candles for the altar. .In addition, one candle· for each chanter was burned throughout the month.26 An interesting paragraph in the constitution of Paul III pro" vided for the scatole confectionum (boxes of sweets). These were gifts of the pope to the singers on certain feast days, when the dis" tribution was made according to seniority, including the sick. 21 The election of the new pope and the creation of new cardinals were events of importance for the cappella and included considerable gifts to the singers as part of the customs associated with the events. The constitution obliged all the chanters to go in procession to Saint Peter's when the conclave opened, vested in cotta, where they sang Ecce Sacerdos. A warning is added that whoever was not in .the procession by the· time it reached the door of the basilica, would be fined ten fuJii, The new pope was expected to provide the singers with gifts of bread and a new cotta, and on the anniversary of his election, similar gifts were in order.28 A new cardinal had to give the cappella thirty gold ducats for the singing of the T eDe:um at the ceremonies of his creation. When the pope died, the singers took part in the funeral ceremonies which included the Missa pro defunctis sung for nine successive days. They received considerable gifts of wax and candles which had been used surrounding the bier of the pope. A similar arrangen1ent was observed at the funerals of cardinals, when candles as well as fifteen gold ducats were given the singers.29 At the election of a new pope the singers participated closely. They sang the Mass of the Holy Spirit and the Veni Creator Spiritus for the opening of the conclave. As long as the conclave continued the cappella sang a daily Mass of the Holy Spirit, and because the singers were considered members of the papal household (ratione familiaritatis) they had to be given their noon meal from the begin" ning of the vacancy until the resumption of cases by the Rota after

147 the election of the new pontiff.30 This meal had to include daily one bottle of good and pure Greek wine for each singer as well as fresh bread.31

When a cardinal died, all the chanters had to be present at the funeral, without their cottas, to sing the Mass. For their services the singers were paid fifteen gold ducats and forty sacks of wax. The two soprani who intoned the office of the dead were given the two wax torches burned during the ceremony. Again to combat tardiness the constitution established a penalty for anyone not present by the end of the Epistle; he would lose the regalia for the day and could take only one sack of wax.32 The constitution of Pope Paul III provided also for the various officers of the college, as well as for a system of self.'government, an interesting institution during a period when absolute monarchy was on the rise. By ancient practice the singers were divided into three nations according to their places of origin and their mother tongues. 33 These were the Italians, the Gauls (including the Nether" landers), and the Spanish. Whenever any business had to be 'con­ ducted, one singer from each nation was chosen to meet with the others and speak for his group. In addition to these elected repre" sentatives, there were also the following officers in the college: The abbot. He was in charge of all ordinary as well as extra" ordinary payments made by the college. This included the regular salaries and all. other stipends and gifts. He himself received a double salary for his work together with special gifts from the pope on certain occasions. He was held accountable for all the funds and had to give a report on his administration. The job was renewable annually in an election conducted some time between the first and the sixth of January, but it was possible to impeach the abbot for dishonesty or for an election achieved under false' credentials. In that. event, another singer from one of the other nations was elected in his place.34 The dean. This officer kept a record of the achnission of new singers and their places of origin. It was his duty to teach the new singers the manner of singing the lessons, prophecies and antiphons. He also collected certain fees from the membersar.d administered the' oath to the new sing.ers. Each year in which a new abbot or a new punctator was elected, the dean had to read the constitution to the- full session of the cap,pella. Whenever a new sing.er was admitted, the constitution was read on the second and third days after his admission.35

148 The punctator. This also was an elective position. He was required to keep a record of the absences, tardiness and other of-­ fenses of the singers. For this he received a double salary. The punctator was bound under oath to deal justly with each singer. Any changing of the records was treated as if it were perjury. This was considered as grave a crime as that of revealing the secrets of the chapel. The office was only given to the older singers who were well acquainted with conditions and observances of the cappella, but an assistant from one of the other nations was provided him. It was a heavily demanding task, requiring a daily summary of the activity of the college. The collection of day--by--day reports that the punctators kept constitutes the l.l.Diario" of the Sistine Chapel. 36 The maestro di cappella. Before the transfer of the papal resi-­ dence to Avignon, this officer in the old schola cantorum was known as the primicerius or the priDr scholae. He was not a director in the modern sense even after his title was changed when the popes returned to Rome. He was a high ecclesiastical dignitary who had several assistants, called secundus, tertius and quartus. However, with the reorganization of the cappella under Sixtus V, the position of maestro di cappella ceased to be held by an important ecclesiastic. The last bishop to serve in such a capacity was Antonio Boccapadule, who was a canon of Saint Peter's basilica and secretary of briefs for princes. He served as maestro di cappella from 1574 to 1586. The first singer elected to the position by his fellows in accord with the reforms of Sixtus V was Antonio Merulo, a Roman. 37 The maestro di cappella was elected for the period of one year. He spoke for the whole choir and on certain occasions presented their greeting and homage to the pope. In case of certain disputes he was the mediator, and various permissions for absence or other privileges were granted by petition to him. It was the position of the greatest honor in the chapel, but because it was elective and of only yearly duration, it lost some of the dignity it formerly had. The copyists (scrittori). Four men were kept in full em­ ployment supplying music for the cappella. When a composer wrote a Mass or motet, it was put into a rough draft and performed. If it was approved and accepted by the singers, then the copyists trans-­ scribed it into the large part--books from which the choir sang. In any official action of the cappella, e.g., a funeral of one of the mem-­ bers, the copyists walked with the maestro di cappella and the other officers of the college. These papal copyists worked also for the cappella in Saint Peter's, Saint Mary Major, the Lateran basilica and other Roman churches. Among those who were associated with the Cappella Sistina during the time that N anino served there are

149 Francesco and Lucas Orpheus, Giacomo Tartano and Giovanni Parvi.38

The custodian (crustode). Care of the books and music fell to this officer. It was his duty to have the proper books ready for services and processions. When the choir functioned at a church other than the Sistir:e chapel, it fell to the custodian to transport the necessary equipment, including the cottae. The cardinal protector. This is a position created in the second half of the sixteenth century. It was first filled by a Neapolitan, Carlo Cardinal Caraffa, the nephew of Pope Paul IV, who. ap-­ pointed him in 1560. Bartolomeo Cardinal della Gueva, a Spaniard, held the office until his death in 1562. He was succeeded by Gian-­ girolamo Cardinal Moroni, a Milanese, who died in 1580. After some years during which the post was unfilled, Decio. Cardinal Azzolini was appointed by Pope Sixtus V, but he died a year later. Antonio Maria Cardinal Gallo da Osimo succeeded him and held the position until 1620.39 Other officers mentioned by Stefano Ugerio in his diary·include the master of ceremonies of the pope and the chaplains (cappellani) 40 These were not posts directly connected with the music activity of the college, but pertained rather to other affairs, spiritual, cere-­ monial, and even diplomatic. The members of the choir were obligated not only to the singing of Mass, but they had the daily hours of the Divine Office to per­ form. The solemnity of the occasion varied according to the liturgical rank of the day, and the fines for absence or tardiness WC.le adiusted likewise to the character of the observance. Accord-­ ing to the Constitution of Paul III, the hour of Matins was signaled by the ringing of the bells of the apostolic palace. The bell--ringers were instructed to begin ringing .lust as the last· sound of the bells of Saint Peter"s basilica was heard. Then the singers assembled in the Pauline chapel, prayed first before God, and then, having vested in the cotta, one of the sopranos assigned to the duty for the week (hebdomadarius) began the Pater, Ave, and Credo silently. That finished, he intoned the opening words of the hour. Domine·labia mea aperies, in a high tone. Anyone not present by the Gloria Patri of the first psalm was marked absent and fined three baiocchi. The little hours, Prime, Terce, Sext and None, were s:ung every day of the year. An exception was Prime on Sundays which was recited on a high pitch rather than sung. Vespers followed on None, and Compline was begun immediately after Vespers.

150 The constitution urges that the chanters be attentive always in responding to the versicles sung by the pope, especially during the Easter time. It makes an interesting and unusual rule that when the pope says per omnia saeC'ula saeculorum on Easter, the singers should not answer Amen, because on that day the angels respond with Amen.41 Certain feasts were more important and demanded greater solemnity. Besides the ordinary daily service, the great occasions at which the pope himself or a cardinal officiated were duly noted in the diary of the chapel. N anino, in the diary he kept as punctator in 1596, lists those great feasts kept by the choir: JANUARY 1st Circumcision . Papal Mass in Sistine Chapel 5th Vigil of the Epiphany Papal Vespers in Saint Peter's 6th Epiphany _ .. Papal Mass in Saint Peter's 18th Chair of Saint Peter . Papal Mass in Saint Peter's 25th Conversion of SaintPaul FEBRlJARY 2nd Purification. Papal Mass in Sistine Chapel 22nd Saint Peter's Chair at Antioch 24th Saint Mathias MARCH 25th Annunciation Papal Mass at Santa Maria sopra Minerva APRIL 25th Saint Mark MAY 1st Saints Philip and James 3rd Invention of the Cross .. San Marcello 6th Saint John at the Latin Gate TUNE i 1th Saint Barnabas 24th Saint John the Baptist Papal Mass at the Lateran Basilica 28th Vigil of Saints Peter and Paul Papal Vespers at Saint Peter's 29th Saints Peter and Paul . Papal Mass at Saint Peter's 30th Commemoration of Saint Paul JULY 2nd Visitation 25th Saint James AUGUST 1st Saint Peter in Chains

151 )th Saint Mary of the Snow 6th Transfig,uration

15th Assumption of Blessed Virgin c c PapaIMass wherever it pleases the pope to have it 25th Saint Bartholomew SEPTEMBER 8th Nativity of Blessed Virgin 14th Exaltation of the Cross San Marcello 21 st Saint Matthew OCTOBER 18th Saint Luke 28th Saint Simon and Jude 31st Vigil of All Saints .. Papal Vespers in Sistine Chapel NOVEMBER 1st All Saints _. .__ Papal Mass in Saint Peter's

2nd Commemoration of the Faithful Departed c __ Papal Mass in' Sistine Chapel Exsequies of the Cardinals ,Papal Mass in Sistine Chapel 9th Anniversary of the Singers ------San Gregorio 17th Dedication of Basilica of Saint Peter and Paul 21st Presentation of the Blessed Virgin 30th Saint Andrew DECEMBER 8th Immaculate Conception 21st Saint Thomas 24th Vigil of Christmas ------Papal Vespers in Saint Peter's 25th Christmas - Papal Mass in Sistine Chapel 26th Saint Stephen - Papal Mass in Sistine Chapel 27th Saint John - Papal Mass in Sistine Chapel

31st Vigil of Circumcision c Papal Vespers in Sistine Chapel MOVABLE FEASTS Anniversary of Election of Pope Papal Mass in Sistine Chapel Anniversary of Coronation of Pope __ Papal Mass in Sistine Chapel Ash Wednesday PapalMass at Santa Sabina All Sundays in Lent Papal Mass in Sistine Chapel Wednesday in Holy Week . Papal Office in Sistine Chapel Thursday in Holy Week _ Papal Mass and evening Office in Sistine Chapel Friday in Holy Week " Papal Mass and evening Office in Sistine Chapel Saturday in Holy Week Prophecies and Papal Mass in Sistine Chapel 152 Easter Sunday Papal Mass in Saint Peter"s Easter Monday __ . . . Papal Mass in Sistine Chapel Easter Tuesday Papal Mass in Sistine Chapel Easter Saturday Papal Mass in Sistine Chapel Vigil of Ascension - .Papal Vespers in Sistine Chapel Ascension Papal Mass in Saint Peter"s Vigil of Pentecost Papal Vespers in Sistine Chapel Pentecost (Red Easter) _ Papal Mass in Saint peter'ls Vigil of Trinity Papal Vespers in Sistine Chapel Trinity Papal Mass in Sistine Chapel Vigil of Corpus Christi Papal Vespers in Sistine Chapel Corpus Christi Papal Mass and Procession All Sundays of Advent Papal Mass in Sistine Chapel The number of singers in the papal choir varied considerably through the years. Under Pope Victor II in 1057, seven subdeacons constituted the choir. Eugene IV in 1436 had nine singers; Pius II in 1462 employed fifteen; and Paul II in 1469 had twelve. With Leo X the number increased to thirty"six, but declined again to twenty"four under Clement VII and Julius III. Sixtus V reduced the choir to twenty"one singers in 1586, but Clement VIII raised the number to twenty-eight. Later, under Urban VIII, it again reached a maximum of thirty"six in 1624.43 Until the time of Pope Honorius III (1216,,1227) the singers lived a life in common, much as members of religious orders do today. The practice was different, however, in the period of the Renaissance when the singers maintained their own residences and received remuneration for their services in money and in other forms, such as wax., candles, sweets, bread, wine, or meals. Under Pope Eugene IV (1431,,1447) it remained the same. From Paul II (1464,,1471) to Clement VI (1523,,1534) the payment was the same but it was made in ducats; but from Paul III (1 534-1 549) to Sixtus V (1585,,159) it was increased to nine ducats per month. SixtusV, by assigning the revenues of three abbeys to the choir, increased the salaries of the singers, but the income was not stable. N anino was sent by the cappella to visit the properties of one of the abbeys, since all the singers had a vested interest in the money that the abbey lands would bring; his letters written to the maestro di cappella in Rome while he was on the journey deal almost exclusively with financial and legal matters. Gregory XIV, however, on October 1, 1591, with the brief, Cum nos, actually reduced the pay of the singers, but.made it more certain and regular by ceasing to have it depend on revenues or emoluments. The singers then had a decent and certain maintenance.44

153 A list of the days on which the singers received special emolu.­ ments in the form of food and sweets is found in the constitution of Paul III. All these days were important liturgical feasts requiring special efforts on the part of the'singers as well as their presence. ' for longer periods of time and even more often in the course of the day. The extra remuneration also added to the festivity of the occasion. The following days were listed for special bonuses of food for the singers: Vigil of All Saints, at Vespers. All Saints Day. Dinner and at Vespers for the Dead. Vigil of Christmas, at Vespers. Christmas, Breakfast and Dinner. St. Stephen'ls Day. Dinner. St. John'ls Day. Dinner. Vigil of New Year, at Vespers. Vigilof the Epiphany, at Vespers. Feast of the Epiphany. Dinner. Anniversary of the pope'ls election. Dinner. Anniversary of the pope'ls coronation. Dinner. Candelmas Day. Dinner. Wednesday of Holy Week. Dinner and at Tenehrae. Thursday of Holy Week, at Tenebrae. Friday of Holy Week, at Tenehrae. Saturday of Holy Week, at'Vespers. Easter Sunday. Breakfast and Dinner. Easter Monday. Dinner. Easter Tuesday. Dinner. Vigil of the-Ascension. Dinner. Feast of the Ascension. Dinner. Vigil of Pentecost, at Vespers. Feast of Pentecost. Dinner. Vigil of Trinity, at Vespers. Trinity Sunday. Dinner. Vigil of Corpus Christi, at Vespers. Feast of Corpus Christi. Dinner. Vigil of SSt Peter and Paul, at Vespers. Feast of SSt Peter and Paul. Breakfast and dinner. 45 Fornari in his history of the Cappella Sistina has assembled a list of papal documents that have reference to the college of singers. He notes that these are no longer available in the archives of the chapel itself, because of fires and especially because of the destruction caused by the sack of Rome in 1527. His sources are the archives of the apostolic palace and the Castle of the Holy Angel, a papal

154 residence for a time during the Renaissance. These are the docu.­ ments which established the privileges, customs, rights and obli, c gations of the papal singers • February, 1433. Bull, Etsi erga cunctos, of Eugene IV. It confirms the singers as members of the pope"s ""family."" June, 1456. Bull, ~uam vis Romanus P~ntifex, of Calista III. Repeats the privileges of EugeneIV. April, 1459. Bull, Ad hoc divina miseratio, of Pius II. October, 1486. Bull, Apostolicae sedis consueta benignitas, of Innocent VIII. August, 1492. Bull, Et si Romanus Pontifex, of Innocent VIII. Granted the bishop who was maestro di cappella the right to present the singers with benefices opened by the death of other singers; these benefices would always have to remain within the cappella. August, 1498. Bull of Alexander VI. Reconfirmed thepriv.­ ileges of the college and said the singers were true familiari of the pope. December, 1507. Bull. Sicut prudens paterfamilias, of Julius II. Confirms the privilege of holding benefices. of Leo X. Ordered the cardinal celebrants of masses to pay the college ten ducats; abolished the practice of giving the singers meals at the palace. May, 1529. Bull of Clement VII. October, 1536. Bull, Sperosae sollicitudinis studia, of Paul III. Ordered secret elections for admission of new members. October, 1541. Bull, Romanus Pontifex vicarius Christi, of Paul III.. Approved the constitution presented to him re.-establishing the cappella after the sack of Rome. This gave secret elections, examinations of new members, and a two-thirds vote for admission. April, 1551. Brief of Julius III. This joined together the college of singers and the college of apostolic writers (scrittori). August, 1553. A motu proprio of Julius III. Established the number of singers at twenty.-four. July, 1555. A motu proprio of Paul IV. Ordered married singers to leave the cappella; this included Palestrina. 1572. Motu proprio, Dilectis filiis, of Gregory XIII. Listed those who have the privileges of the college;. re.-established the prac.-

15'5' tice of giving breakfast and dinner to the singers, which had been abolished by Leo X. September, 1586. Bull, In suprema mihtantis ecclesiae, of Sixtus V. Made great changes in the organization of the college, including the election of the maestro di cappella from the ranks of the singers. Confirmed the singers as members of the papal household. Gave over three monasteries to the college for revenue. October, 1591. Bull, Cum nos, of Gregory XIV. Reduced the pay, but put the singers" income on a steady, certain basis. 1593. Bull of Clement VIII. Singers were permitted to be ordained priests without benefice or patrimony under the title of the Cappella Pontificia alone. February, 1607. Brief, Acceptimus inter alia, ofPaul V. Re" stated the practice on entrance·examinations; similar to constitution of Paul 111.46 Of all these decrees, the bull of Sixtus V, In suprema, made the greatest change in the cappelIa during the tenure of Nanino. Sixtus, in his relatively short pontificate, left his mark on Rome. He removed a great number of medieval palaces and buildings and replaced them with ne\v baroque structures that are still greatly in evidence in Rome. He had little fear of breaking with the past, and even the Cappella Sistina received his attention. His bull said that he wished to restore order to the chapel. To do this he removed the singers from all jurisdiction e)(cept his own, and placed Cardinal Azzalino over them as cardinal protector. He added the weight of his pontifical authority to the decree, saying that it was given motu proprio (by his own personal decision), and with the exercise of his potestatis plenitudine (the fullness of his power). The number of singers was reduced from twenty"four to twenty"one, which re­ sulted in the dismissal of three. This number included the maestro di cappella. He ordered an examination for admission and stated that the singers must be skilled and possess good voices. He abro" gated all concessions, but to those who had served for twenty"five years in the college exemption from daily service was granted in case of ill health or bad voice or some other good cause. The singers were again invited to eat at the apostolic palace on certain occasions, and a list of days on which the singers received bonuses in the form of sweets from the palace was given. The most significant and far"reaching change, however, was made in the manner of selecting the maestro di cappella. ~ixtus, who was a Franciscan and for that reason acquainted with the elective system used in his order, decreed that the maestro di cappella was to be elected each year by the mem"

156 bership of the college and from their own number. The former system of appointment of a high ecclesiastic to the office was abrogated. From this time onwards, the director was a musician primarily, rather than a churchman. The bull also endowed the college with the revenues of three abbeys: S. Maria in Crespiano in the diocese of Taranto; S. Salvatore in the diocese of Perugia; and S. Maria in Fellonica in the diocese of Mantua. It was to the last one that Nanino was sent to arrange the formalities of taking possession for the college. 47 Sixtus also re--instituted the ·ancient papal custom of the sta-­ tional churches. Well established by the pontificate of Pope Gregory the Great (5'90--604), this practice of celebrating the papal liturgy in a different Roman church each day had disappeared in the four-­ teenth century when the papal residence was transferred to Avignon. It has been a magnificent ceremonial participated in by the whole papal court with processions from all parts of the city coming to the event. 48 With the popes" return from Avignon to Rome, the liturgy of the papal court was confined to the palace as had been the custom in Avignon; as a permanent place for this ceremonial, Sixtus IV built the chapel bearing his name. Sixtus V, however, preferred to renew the previous practice. This he did with a bull dated February 13~ 1586. By it the papal choir was obligated to attend the stational Mass.49 The real home of the pontifical singers was the Sistine chapel, built for Sixtus IV (1471 -- 1484) to be the official private chapel of the popes. It is thought that the architect was Giovanni dt Dolci.50 Others say that it was Baccio Pontelli. 51 Constructed on the site of a previous chapel, the Sistine building is a single spacious hall, 130feet long, 44 feet wide, and 65' feet high. 52 Seen from the outside its outer walls appear like a fortress with great buttresses and inter-­ esting brick work with the sole decorative device being the Lombard band. The interior is well described by Maurizio·Calvesi: The great cube of the interior, rounded off overhead by an elegant vault originally painted blue and gold in imitation 6f the night sky, aimed at· an effect of sacramental solemnity, but failed to achieve any weU--defined spatial quality. Rather than space we should perhaps speak of ambience, of a cere" monial atmosphere where clouds of incense floated up, reverberated, conclaves sat and solemn gatherings deliberated; where the eye ranges freely in light evenly diffused by the high windows. The law of this space, which neither seeks nor finds any peculiar intensity of its own, being defined solely in terms of its regular development, consists in the rhythmic

157 convergence of the elements enclosing it and the symmetrical correspondence of wall to wall, window to window, lunette to lunette.53 In Nanino"s day the frescoes of Michaelangelo were new. The famous portrayal of creation was done between 1508 and 1512, and his picture of the last judgment replaced earlier frescoes between 1536 and 1541. These paintings, together with earlier ones by Pinturicchio, Botticelli, Rosselli, Signorelli, Ghirlandaio, Piero di Cosimo and others, decorated the chapel with a newness and fresh­ ness that time has dimmed. 54 It was the show;place of the papal palace and no lack of artistry or attention was lavished upon it to make it a fittingly adorned temple for the most elaborate ceremonies in Christendom. In addition to· the paintings on the walls and ceiling, the floor was given its beautification by the Cosmati, whose opus Alexandrinum still remains one of the fine examples of fif.. teenth century mosaic work in marble. Other marble work was the screen that separated the sanctuary area, where the papal court was located, from the places for the laity. This was the work of Mino da Fiesole, Giovanni Dalmata, and Andrea Bregno, as was also the cantoria or singing gallery where the choir was located. It is inter; esting to observe that in the fifteenth century, the cantoria was on the lay side of the chancel screen, but in later illustrations, the marble screen had been moved toward the rear of the chapel to enlarge the sanctuary area for the. papal court, and as a result the cantoria came to be within the sanctuary area. 55 Undoubtedly, the magnificence of the painting and the marble work in the chapel was equalled by the beauty of the music that accompanied the solemn pontifical rites. The period of the Renais; sance saw the popes as patrons of art and music; they filled the papal palaces and galleries with their acquired treasures; but the real gem which their patronage produced was the Sistine chapel. It was in this setting that N anino spent most of his daily working hours for the last thirty years of his lif.e. It is in this same setting, some" what dimmed by the passage of time, that some of Nanino"s com­ positions continue to be sung by the. Sistine choir. According to Andrea Adami da Bolsena, in his rules for the Sistine Choir, Na; nino"s Hodie nobis coelorum Rex is prescribed for the offertory at Mass on Christmas morning, but· he adds that this can be changed if the maestro di cappeHa wishes. 56 Another motet that is at present in the choir"s repertoire is Nanino"s Haec dies. 57

158 FOOTNOTES 1. Eduard Schelle, Die PCipstliche SCingerschule im Rom. genant: die Sixtinische Capelle. (Wien: Verlag von J. P. Gotthard, 1872), p. 213. A review of this work can be found in Monatschefte fur Musi~geschichte, IV (1872), 206~9. 2. H. A. Douglas, "'Notes on the History of the Pontifical Singers," Sammelbande der Internationale Musi~gesellschaft, XI (1911), 252~3. 3. Luisa Cervelli, "'Cappella musicale," Enciclopedia Cattolica (Vatican City: En~ ciclopedia Cattolica, 1949), III. 700. 4. W. A. Rockstro, "Sistine Choir," Grove's Dicti.onary of Music and Musicians (5th ed.; London: Macmillan, 1954), VII, 823. 5. Douglas, "'Notes on the History of the Pontifical Singers," op cit., XI, 45'2. 6. Joseph A. Jungmann, The Mass of the Roman Rite (New York: Benziger, 1951), I, 67~74. 7. The Inventorio of the Cappella Sistina in the Vatican Library contains 703 separate entries~ Those numbered from 1 to 605 are collections of music dating from Gre~ gorian chant to writers of the nineteenth century, with the vast part coming from the period of the Renaissance. Those numbered from 606 to 703 are collections of papers about the cappella itself; some are documents, and others are studies made by various choirmasters and students over the centuries. 8. Matteo Fornari, HNarrazione istorica dell' origine, progressi e privilegi della Pon~ tifida Cappella." Unpublished manuscript in the Vatican Library, Cappella Sistina, No. 606, 1749. 9. Cappella Sistina, No. 611 and No. 627. A photostatic copy of the title page showing the pope giving the document to the maestro di cappella can be found in Appendix III. 10. Cappella Sistina, No. 606. Fornari also includes the bull in his work. 11. A list of the signatures of all the singers who swore to obey the constitutions of Paul III is contained in the Cappella Sistina No. 611, p. 31~34. It is an interesting collection of autographs of many famous composers. Nanino's Signature is on p. 34. A photostatic copy of his signature can be found in Appendix III. 12. Cappella Sistina No. 627, para. 4. This manuscript has no page numbers, but the paragraphs are numbered. 13. Ibid., para. 5. 14. The wording of the oath is as follows: ""Ego, N., clericus N., ab hac hora inantea obediens et fidelis. ero sanctissimo Domino nostro Papae N.: et Reverendo Domino nostro Magistri Capellae: constitutiones & consuetudines dictae capellae observabo: Dominum Decanum: Cantores et collegium venerabor: sic Deus me adiuvet: & haec sancta Dei Evangelia." Cappella Sistina No. 611, p. 1. A photostatic copy of the page of the document containing the oath can be found in Appendix III. 15'. Cappella Sistina No. 627, para. 6. 16. Ibid., pnra. 9. 17. Ibid., para. 10. 18. Ibid., para. 13. 19. Ibid., para. 16. 20. Ibid., para. 17. 21. Ibid., para. 19,20. 22. Ibid., para. 21. 23. Ibid., para. 24, 25. 24. Ibid., para. 26. 25. Ibid., para. 27, 28, 29. 26. Ibid., para. 30. 27. Ibid., para. 31. 28. Ibid.. para,. 32. 29. Ibid., para. 33. 30. The idea that the choir was a part of the Hfamily of the pope" can be found in the bull of Eugene IV, Etsi ergo cunctos, dated February 7, 1443. The college of singers was to be considered like other papal service groups, e.g., the scribes or the clerks, or those who conducted the chancery or the apostolic datary. Leo X

15'9 abolished the practice of giving the singers their meals in the palace or rewarding them with tips of food or sweets, and instead the celebrant of the Mass was order~d to pay ten ducats to the·· choir. However, Gregory XIII, in 1572, re.. instated the practice of giving bread and wine to the singers, ordering that both breakfast (colazione) and din11.er (pranzo) were to be served to them in the apostolic palace. Sixtus V confinued the status of the singers as members of the papal family, and therefore they were considered worthy of bread and wine, breakfast and dinner in the palace. Fornari, Ope cit., p. 44.. 48. 31. Cappella Sistina No. 627, pa.ra. 34. 32. Ibid., para. 35. 33. Ibid., para. 38. 34. Ibid., para. 39, 40. 35. Ibid., para. 41. 36. Ibid., para. 42. 37. W. S. Rockstro, "Sistine Choir," Ope cit., VII, 823. 38. F. X. Haberl, Bibliographischer und Thematischer Musi~~atalog des Piipstlichen Kappellarchives im Vati~an zu Rom (Leipzig: Breitkopf & Hartel, 1888), p. 70.. 71. 39. Fornari, Ope cit., p. 90. 40. Cappella Sistina No. 690, p. 2. 41. Cappella Sistina No. 627, para. 37. 42. Cappella Sistina, "Diario," XX (1596), 4.. 6. 43. Fornari, op cit., p. 27. 44. Ibid., p. 48.. 50. 45. Cappella Sistina No. 627, p. 28, 28v. 46. Fornari, Ope cit., p. 36.. 62. 47. Cappella Sistina No. 627. 48. Joseph A. Jungmann, The Mass of the Roman Rite: Its Origins and Development (New York: Benziger Brothers, 1591), I, 67.. 74. 49. Ludwig Pastor, The History of the Popes (St. Louis: B. Herder, 1923 .. 53), XXII, 218. 50. Bartolomeo Nogara (ed.), A Short General Guide to the Museums and to the Picture Galleries of the Vatkan and Lateran and of the Vatican Library (Vatican City: Pontifical Monuments, Museums and Galleries, 1950), p. 165. 51. Maurizio Calvesi, Treasures of the Vatkan, trans. by James Emmons (Geneva: Edition d'Art Albert Skira, 1962), p. 66. 52. Ibid., p. 66. 53. Ibid., p. 66. 54. Nogara, Ope cit., p. 165.. 172. 55. Pictures of the chapel from the fifteenth century and from the period after the completion of Michelangelo's frescoes can be found on p. 54, 70. 56. Andrea Adami da Bolsena, Osservazione per ben regolare il cora dei cantori della cappeHapontificia (Rome: Antonio de' Rossi, 1711), p. 108. 57,. A letter from Monsignor Domenico Bartolucci, .at present the maestrodirettore perpetuo of the Sistine choir, in reply to my request about the use of Nanino's works today, states that both of these motets are still performed often by the choir;

160 THE USE OF GREGORIAN PSALMODY WITH THE ENGLISH LANGUAGE A very interesting picture is painted by Saint Augustine when he describes the farmers of his day singing the psalms as they worked their fields. These simple people "developed a rich knowl,. edge and a deep love for the psalms by singing them at their litur" gical gatherings. The psalms have always been and \'lill always be a very important part of the Church"s prayer life. All will agree that the psalms should be part of the repertoire which we teach our people to deepen their participation in the life of the Church. However, all will not agree as to what music should be used in this venture. Many new musical settings of the psalms pave been composed in recent years. However noble and praiseworthy have been these attempts to bring the psalms to our people, we have passed by the greatest and finest settings known to the Judeo"Christian world: Gregorian Psalmody. I propose that Gregorian Psalmody should be our vehicle for singing the psalms in English because it is much more simple and much more beautiful and richer than any other existing psalmody. It is a masterpiece of art, the perfection of whose detail will be almost impossible to match. Let us look briefly at the qualities of simplicity and beauty and richness, comparing them to contemporary psalmody. Let us also look at the difficulties inherent in using Gregorian Psalmody with the English language. Gregorian psalmody is very simple, with the simplicity of a genius. The Gregorian psalm verse, with its simple intonation, a very simple flex, an easy mediant, and a simple final cadence, very easily adapts itself to verses of any length, short or long. One could sing any words, be they of a psalm, or of a newspaper article, or even the Gettysburg Address, to a psalm tone. If our people knew all eight psalm tones, or only four of them, or only two, or even only one, they could sing every psalm in the whole psalter. This is an extremely clever thing which is lost in most modern at,. tempts at psalmody. It is necessary to point out here that the verses of the psalms have evolved in their structure. Verses were once twice as long as they are now, two of the present verses usually comprising one of the original. The reason for this evolution was to make shorter verses which a larger group could sing with greater ease. Kindly note this well: the evolution in psalm structure was due to congre" gational singing, and this \vas very, very early in the church. An" glican chant preserves this simple structure.

161 This is precisely the point where Gelineau is weakest. He tries to follow the older, longer verse structure. His verse con' struction is irregular, necessitating a change in melody very fre' quently. Learning to sing Gelineau is like learning a language which is all irregularities. It can be done, but it is a difficult task. To sing the last three verses of Gelineau's setting for Psalm Twenty'two, you merely drop six measures out of the middle of the melody, and eliminate one pick,up note. Our congregations will certainly be able to remember these slight changes! For the trained musician, this may not be hard, but to ever expect a con' gregation to do this is to be dreaming. In this respect, Gelineau psalmody is a regression, a setback, rather than an advancement in the development of psalmody. Gregorian, on the other hand, has no problem with this ""irregularity." Rather, in its wonderful simplicity, it adapts itself to verses of any length.

That Gregorian psalmody is beautiful· needs no proving. The simple, .yet dignified, melodies are extremely wonderful expressions of spirituality. They breathe a purity which says: ""I am holy." The variety of endings available for many of the psalm tones gives an even greater melodic variety within the simple structure of the psalmody. The modal richness of the tones is awe inspiring. In each tone, the spirit of the individual mode shines through, whether it be penitential, meditative, reflective, joyful, or sorrowful. Good church musicians, regardless of faith, consider themselves unedu' cated if they have not studied this aspect of chant.

Gregorian has also been enriched by many polyphonic, falso' bourdone, settings of the psalms which may· be alternated with the psalm tones themselves. This is wonderful and gives an opportunity for a dialogue between ornate choir work and simple congregational singing.

Part of the beauty of the Gregorian psalmody is that it has reached the perfection of being able to sing each psalm with each psalm tone: now in a joyful mood, now in a penitential mood. This is very important because the psalms are poems which are adapted at one time to have a happy reference, at another time to have a sad or penitential meaning. For instance, Psalm 129, the De Profundis is used both for the joy of Christmas and for the sorrow of death. One would certainly want a different setting for each of these usages. This richness is a great point in favor of Gregorian psalmody and it has not been achieved in recent settings of the psalms.

162 Gelineau psalmody cannot be said to compare with Gregorian in beauty. It has become popular, not because of the psalmody itself, but because of certain catchy antiphons and because of a fine English translation. Professional church musicians often find Gelineau to ""wear" poorly. Gelineau has been recommended, not by Church musicians, but by popularizers of the liturgical move; ment.

We should mention also the psalmody of Fr. Sommerville and Geno Tacos. Both, like Gelineau, are good attempts, but ones which are incomplete. They do not cover the entire psalter and lack the simplicity and richness of Gregorian. There is, however, one problem which faces an English Gre; gorian psalter. It is the difference between English and Latin ac; centuation. Latin as we know it today usually accents the second last or third last syllable of each word and, in words of many syl; lables, creates secondary accents so that every second or third syllable is long and no final syllables are long.

What must we do if we are to use the English with the Latin? In the mediant and final cadences, we must have a proper system of accents which will fit the Gregorian cadences. Since English has a greater variety, many more systems are available, and ex; perience has shown that a great number of them work.

Any of these systems will do:

1. u / u / U Shall CALL me BLESSed 2. / u u / U VICE slays the WICKed 3. /. / u / u YOlJ BE and PROSpered 4. u / U/U u shall BEAR their PUNishment 5. I U U I UU FRUIT of your HANDiwork 6. // u / U U LONG DAYS of PUNishment 7. u / U/U I are THOSE who FEAR the LORD 8. /·u·u / U I FAther and TO the SON 9. // u / U/ GREAT THINGS for ME fare DONE 10. u / u / / the DAYS of YOUR LIFE 11. / UU// FOLlow in HIS PATHS 12. / u / / / THUS is THAT MAN BLESSED Other systems are too rare to consider. The only system that will not work is: / LJ U/ such as ""Praise ofthe Lord." This is foreign to the musical nature of the Gregorian. And so we can see that out of the possible choice of thirteen metrical systems, twelve fit Gregorian. This is quite good.

163 The key to singing the psalter in English. to Gregorian psalm" ody is to first make an English version of the Psalms which has the proper systems of accentuation. Most of our present texts fit. Some do not. We must first make a translation which eliminates the wrong systems and uses the right ones. There are so many English translations available that .one can always find an English phrasing which fits. English is such a rich language, that you always find another way to say something with the same exactitude and yet with the proper accentuation. I have yet to be c.c.stumped" in doing this~ Some would argue that this is putting the cart before the horse, that the music should fit the words, rather than the words, the music. This would be true if we already had a real singable trans" lation of the psalms. But we don't. Most of our translations are too clumsy to sing. Therefore it is legitimate to make a translation that will fit our needs, providing that good English and exact n1eaningare preserved. There is no problem with the fact that in Latin you have no accents on the last. syllable of a word, whereas in English this is very common. The last note of every Gergorian cadence is a double note, receiving two full counts. This naturally makes it stronger. A strong syllable falling at the end of a cadence fits quite well on this double note. We take too seriously the idea that chant is wedded closely to Latin as we know it. It is true that chant grew in a Latin atmos" phere, but there is ample evidence to show that adaptations have been made in the past and therefore could be made in the future. Let us look at some examples: 1. In some instances more than two·unaccented syllables fol" low in succession: e. g. DOmini atTISsimi. Our present system calls ·for a simulated accent on the ni of Domini, a contrived situa" tion. This would indicate that our present· system was developed post factum and applied to situations which it did not fit. 2. A monosyllable at the end of a phrase. sometimes followed two unaccented syllables, such. as laetabitu:r rex. In this case, rex was weakened and the tur of laetabitur was strengthened. This goes contrary to the spoken word and indicates again that our present system.is contrived a bit. 3. Latin, with its accentuation by stress, as we know it today, probably differs from Latin as it was spoken during the classical period with its accentuation of duration. The long syllable was

164 held longer, not stressed or made louder as we do it. Therefore our present system of Latin accentuation did not exist in the early days of Gregorian psalmody. These examples show that there have been changes and adapta; tions in the past and that chant as we know it is not so indissolubly joined to the Latin language. If there have been adaptations in the past, then they are possible now. Another conclusion would be that in singing the psalms \vith Gregorian music, either in English or Latin, the accents should not be hammered out with great strength, but rather sung in a light, dignified manner with reserved emphasis that fits the pure, refined nature of Gregorian music. English Gregorian psalmody sung in this way has all the beauty of the Latin. Many people have set individual selections· of the psalms to Gregorian. No less a man than Fr. Vitry recommended Gregorian settings. He saw the difficulties, but realized that it would be a great piece of folly to set aside one of the Church"s greatest tradi; tions for something of doubtful value. Sou1e Episcopalians and Lutherans use it. A simple· English Gregorian psalm.ody \vill be especially practical if VJe are to sing the psalms of Lauds and Vespers in our parish churches and convent chapels as Vatican II urges. No other available system is practical enough for this. Educated Church musicians should do a great deal for .the sake of Gregorian Chant. We are napping if we let enthusiastic liturgical popularizers throw out one· of the glories of the Church with one grand sweep of their arm. We should be proud of Gre; gorian psalmody. It is part of the crown jewels of the kingdom. Its spirituality and purity are a joy to hear. Its simplicity is amazing. We should know and love it. We should use it for English psalmody. And even if, in the course of time, a new English psalmody does develop, use of Gregorian ae the present time will insure that its qualities are not lost in the present liturgical shuffle. Rev. Robert Wurm

165' THE PRESENT STATE OF MUSIC IN CATHOLIC COLLEGES AND UNIVERSITIES by Dr. Lavern J. Wagner

Part I Since the is the oldest existing patron of the arts, and for many centuries was the foremost supporter of all types of artistic endeavor, it is fitting and proper that music should occupy an important place in her system of education on all levels. This study undertakes to evaluate the position of music in Catholic colleges and universities in the United States today. It is concerned with several different facets of music in Catholic higher education: it is concerned with those schools which offer much specialized and advanced training in the field and with those which seem to be neglecting music almost entirely. They all form part of the total picture·of the present state of music in Catholic colleges and uni-­ versities. Before dealing with the specifically musical aspects, it would be well to present some facts on Catholic higher education in gen-­ eral, since they have an important bearing on the musical situation.! Research has established that there are 224 Catholic colleges and universities in this country. This figure does not include junior colleges, colleges established exclusively for the use of a religious community, or seminaries. Schools may be classified according to their student body as being exclusively for men, exclusively for women, or for both men and women, i. e. coeducationa1. 2 Of the 224 Catholic colleges and universities, 125 or 56 ro are for women, 53 or 23 % are for men, and 46 or 21 ro are coeducational. Most Catholic schools are conducted by religious communities. The only exceptions are Catholic University, which is under the supervision of the United States hierarchy, and nine colleges oper" ated by various dioceses around·the country. Of the religious orders, the largest number of schools conducted .by anyone order is the 28 colleges and universities of the Society of Jesus. 26 schools

1 Scmrces for the information following: Official Guide to Catholic Educational Insti, tutions and Religious Communities in the United States, 1962 ed., pub. by National Catholic Welfare Conference. Catholic School Guide, 1963 ed., pub. by The Catholic News, New York.

2 For the purpose of this study the classification of colleges and universities as "co' educational" was limited to those schools which had a significant number of courses with both men and women attending the same classes. Thus a men's school with a division of nursing education, or with women only in night school or summer school, or even a few women full time students, would not be classified as coeducational. The Official Guide to Catholic Educational Institutions lists 73 colleges and universities as coeducational, but 27 of these were eliminated for reasons such as those mentioned.

166 are in charge ofFranciscan men's and women's orders. Sisters who conduct ten or more women's colleges include Dominican Sisters, Sisters of Mercy, Sisters of St. Joseph, Sacred Heart Sisters, and Sisters of Charity. Benedictine Sisters and Notre Dame Sisters have eight schools each. Of the men's orders other than the Society of Jesus, the Christian Brothers have ten colleges and Benedictine Fathers eight schools. The.total enrollment figure for Catholic colleges and univer" sities as given in the Official Catholic Directory for 1960 was 302,908.3 In the 1962 edition this figure was 336,604. Total enrollment increased somewhat over 11 ro in the two years from 1960 to 1962. In this study, however, it was decided to limit consideration to full time students. In 1962, according to the Official Guide to Catholic Educational· Institutions there were 226,061 full time students attending Catholic colleges and univer" sides. Thus about 110,000, or one'third of the total enrollment, were part time students. Of the full time students, 270;0 were en" rolled in women's schools, 300;0 in men's schools, and 430;0 in co" educational schools. It may be surprising to learn that despite the Church traditional separation of men and women in her educational system, 43 0;0 of the total number full time Catholic college and university students in this country attend coeducational classes. This is significant for Catholic educators as a whole, who should be fully aware of the fact that, at least on the level of higher learning, coeducation is significantly present in the Catholic school system. Furthermore, observation of histories as given in college and uni" versity catalogs leads one to the conclusion that coeducation is steadily increasing at the collegiate level in U. S.· Catholic schools. The distribution of men and women students is also worthy of note. While 430;0 of the total number of students attend CO" educational institutions, they are in 21 0;0 of the total number of colleges. But the 27% of students attending women's schools are divided among 56ro of the total number of colleges. This mea:ns that Catholic women's colleges all have a relatively small enrollment; in fact, only seven of them have enrollments of over 1,000. The largest men's school is Notre Dame University; the largest co" educational school is Marquette University in Milwaukee, Wis" consin, with an enrollment of over 8,000. With this information as a background, we will not examine those Catholic colleges and universities which offer a degree or degrees in the field of music. Although there have been two pre"

3 Pub. by P. J. Kenedy and Sons, New York.

167 vious studies dealing with various aspects of music in Catholic higher education, neither of these has included all Catholic colleges and universities in their research. 4 The present study is based on the examination of catalogs and bulletins from all 224 Catholic insti-­ tutions of higher learning. Data was gathered by means of a form which was completed for each school. In addition to general information, this form included the following details applying to music offerings: type of music degree granted; accreditation; schol-­ arships offered; number of faculty members and degrees they held; music courses required or offered for the entire student body; in-­ formation applying to specific music courses such as liturgical music, music history, counterpoint, instrumental techniques, and .music education courses; musical organizations; applied music of-­ fered; cost of applied music lessons; recitals required. I We learn immediately that, of the 224 Catholic colleges and universities throughout the country, 120 or 54% offer a major in music or music education. Of these 120, 12 or 10ro are men"s school, 87 or 72Y2rO women"s schools, and 21 or 17Y2% co-­ educational schools. A general statement may be made that the Bachelor of Music degree in applied music or in music education requires more credit hours in music courses than the Bachelor of Arts with a major in music. Some schools require 80 or more hours, approximately two--thirds of the total amount of.college work, to be in music for the Bachelor of Music degree. Usually at least 60 hours, or one" half of the total number of ·hours for this .degree, are in music courses. The Bachelor of Arts degree, on the other hand, is almost always much weaker in music study. Many schools require only 32 to 36 total hours, and this includes introductory courses at the freshman and sophomore level, such as theory courses. A few schools even require less than 32 hours for the B. A. with a major in music. A definite weakness in some curricula for the B. A. with a music major is the absence of music courses in the freshman or sophomore year. This lack sometimes goes so far as to omit under-­ graduate study of applied music entirely. This is not the type of music curricula which is the accepted norm in the American system of higher education.

4 Previous studies: Schaum, Rev. David W., 'The Music Progra.m in Catholic Colleges a.nd Universities in the United States, (Ph.D. Dissertation). The Catholic University of America Press, Washington, D.C., 1961. Sister Catherine Cecilia, G.P., Survey of Music Curricula in Catholic Colleges for Women in the U. S. (Unpublished master's thesis). Duquesne University, 1961.

168 Some schools which are avowedly preparing students for the music education field still ~equire a minor in some other field in conjunction with a major in music. Positions requiring the teaching of music exclusively are at present available in such a sufficent number that a minor in some other field is unnecessary.5 It would be well for those schools who still demand such an academic minor to update their thinking on this matter. In examining catalogs it is difficult in some· instances to recon" cile the small number of music faculty members with the large number of music courses being offered. Many schools indicate in their catalog the semester each particular course will be taught. But some schools give no such indication whatsoever, or have statements such as H on demand only'" after many courses. (A more accurate phraseology for the course taught only infrequently would be "as required."') It is entirely reasonable to have a strong feeling that a number of such courses marked ""on demand only" are seldom if ever taught. Actually, it is difficult to find justification for the inclusion in a college catalog of courses not taught at least every other year. Further, prospective students are entitled to the as" surance that they will be able to take all courses described in the catalog. Turning now from a consideration of the music curricula in general to that of some specific aspects, it is interesting to note how much the relationship between music and liturgy is being stressed in Catholic higher education. It was a pleasant discovery to find an overwhelming majority of schools with courses in liturgical music. Almost all schools, including many of those which did not have a major in music, offered their students some type of course or other experience in liturgical music. This is as it should be. We cannot afford to allow students, who have had their musical training in Catholic institutions, to leave these schools without a good knowl; edge of the musical heritage of their own faith. Catholics are mu; sically richer than any other religious body in the world. Let us hope that an awareness of this wealth by graduates in Catholic music schools will redound to the betterment of music in our parishes. In music history, four to six hours are usually required of a music major, with sometimes an additional· course of about four hours in music literature. It is difficult to see how any teacher could do justice to a music history survey course in only four sem; ester hours. With regard to a text for this course, it is gratifying to

5 Riemer, Bennett, "The Market for Music Teachers," Music Educators Journal, Vol. 49, No.4, Feb...March, 1963. p. 43.

169 know that, according to information from the publishers, 51 of the 120 Catholic schools offering a major in music have adopted A History of Western Music by Donald J. Grout.6 Since it takes into account all recent musicological research, this work has become outstanding in its field. In teaching counterpoint Catholic music schools have a unique opportunity. The finest of Catholic church music is written in the finest of contrapuntal idioms-that of the 16th century. Further" more, the knowledge of Gregorian chant is essential to writing good melodic lines in 16th century counterpoint. And what better op" portunity to teach the modes, for the modes of chant and· those of the 16th century style are closely related. It was disappointing then to learn that only 30, or 25<;70 of the schools offering a major in music, require their music majors to take 16th century counterpoint. And some of the descriptions of these courses are .rather vague, saying that they include the 16th and 18th century styles of writing, but how n1uch of each is not stated. Some catalogs show a tendency to substitute analysis of 16th century contrapuntal works for the actual writing of counterpoint. This must be. considered as an attempt to make the course easier. There is no substitute for actual writing. It is especially important for those schools which offer a major in liturgical music to require in. their curriculum a thorough grounding of the 16th century style. Another area given special attention was that of the instru" mental techniques courses. Any musician who expects to have even nominal .success in teaching instrumental music must have. a thorough knowledge of the elementary techniques necessary for per" forming on every instrument, including all the strings, woodwinds, brasses, and percussion. Of the 120 schools offering a major in music, 32, or over one"fourth of the total, do not offer any instru.. mental techniques courses at all. Some schools say that they re" quire individual instruction on instruments, but do not specify which ones, for how long, or what proficiency must be attained. They leave one with a vague statement on this point. Furthermore, instrumental techniques courses as a whole are especially weak in the treatment of percussion instruments. Many schools do not offer any course in percussion techniques, while· others group brass and percussion in one course. This almost certainly turns out to be detrimental for the percussion instruments. It is to be noted that this course is always described as .... brass and percussion,"" never .... percussion and brass."" From the very description it may be sus" pected that the percussion is likely to be treated as a poor relation

6 Pub. W. W. Norton '& Co., 1960.

170 in the family of instruments. As an aid· to the improvement of this situation, attention should be directed to two organizations devoted to the promotion of better percussion teaching and performing throughout the country-the Percussive Arts Society, and the Na... tional Association of College Wind and Percussion Instrument Instructors} Both these groups publish a journal which contain~ information helpful to percussion teachers as well as students. Public performance on recitals is another facet of the curricula for music majors which may be considered here. Of the 120 schools with a music major~ 57, or almost half, state that they require some type of public performance, and usually mention a senior recital. Some catalogs mention public performance for majors in applied music only. It may be assumed that, even though a specific state'" ment cannot be found in the catalog of a certain·school, public performance is still required,. at least for the bachelor"s degree in applied music. However, schools should not neglect to make a clear statement for the benefit of future students on this aspect of their music curricula. A most interesting phase of the investigation on the state of music in our Catholic colleges and universities is the study·of the music faculty members. Research, including all schools, shows that there are a total of 880 persons teaching music in Catholic institu... tions of higher learning. Of this number 82. 5ro are full time teachers and 17.5% are employed part time. Because it is difficult at times to tell from a catalog whether a person is teaching full time or part time, there may be a slightly higher percentage of part time teachers. Of the total 880 music faculty members, 9.4% have doctor"s de'" gress 51.4% have master"s degrees, 22.2% have bachelor"s degrees, and 17ro have no degree whatsoever. This latter group with no college degree includes especially teachers of applied music.. Music faculty members with the doctorate include 48 Ph.D."s and 21 persons with the Doctor of Music, while other doctorates repre... sented are the Doctor of Musical Arts, Doctor of Fine Arts, and Doctor of Education. It is to. be noted that there is a lack of religious as instructors on the faculties of several Catholic music schools. This is especially

7 Addresses: Percussive Arts Society, Donald G. Canedy, Acting Executive Secretary, Music Dept., Southern Illinois Univ., Carbondale, Ill. National Association of College Wind and Percussion Instrument Instructors, Earl W. Boyd, President, Music Dept., Eastern Illinois Univ., Charleston, Ill. Some mimeographed publications giving infor" mation not otherwise readily available on percussion instruments written by Hugh W. Soebbing: Percussion Methods and Materials. Percussion Instruments. Latin..American Instruments and Rhythms. Available from: Music Extension Service, Quincy College, Quincy) Illinois.

171 true of those schools with the larger number of students. DePaul University has no Vincentian Father on its music faculty, neither does Duquesne University have a Holy Ghost Father. Catholic University has only one priest on its music school faculty. There are seven Catholic institutions offering a music degree who have no religious on their music faculty. Further, it has been pointed out that there are thirteen Catholic colleges and universities, included among them the most prominent of those offering a major in music, who have a Jay person as .dean of the music school or head of the music department.8 The only meaningful accrediting body for music schools in the United States is The National Association of Schools of Music. 23 Catholic institutions hold membership in this association, approx" imately 10% of its total members. Catholic schools have been criticized for the small number of scholarships available to students in music. 9 This criticism is not entirely justified. Although catalogs and bulletins do not always give complete information on this matter, it is possible to find men" tion of 42 colleges which offer various numbers of music scolarships for differing amounts. It would be safe to say that at least one.-third of the schools offering a major in music also have some type of scholarship aid available specifically for music students. Schools which are interested in the quality of their students majoring in music realize that they must compete for the better musicia;ns with large music departments of state universities offering low tuition and· the best in facilities. Scholarships are also often used to build musical organizations and maintain them at a superior level. Some music scholarships are thus almost imperative at the smaller colleges. It sometimes happens that schools are offering music scholar" ships but receiving few qualified applicants. A listing of such scholarships available at colleges and universities throughout the country is published each year in the February issue of THE INSTRU" MENTALIST. There is no charge for inclusion in this listing. In the February, 1963, issue only ten Catholic colleges were included. It would be well for more Catholic institutions to avail themselves of opportunities such as this. Part II One of the prime responsibilities laid upon any institution of higher learning is the preservation of culture and the transmission of it to generations of students. We in the music field realize the

8 Schaum, Ope cit., 22~24. 9 Schaum, Ope cit., 64. 172 rich traditions which are ours as musicians, and especially as Cath; olic musicians. We want to see this heritage of culture handed down to our own students. Let us examine how well our Catholic institutions of higher learning are fulfilling this responsibility in the area of music. The inclusion of a course in music appreciation, or introduction to music, in the curriculum of every student attending a certain Catholic college or university, \vould be evidence that this insti; tution realized its responsibility to the past and is fulfilling it to the students of the present. Unfortunately, however, it is necessary to report that thorough research into the matter reveals many institu.­ tions deficient in offering this cultural background. 3070 of our Catholic college students in Catholic schools have no opportunity whatsoever to· take a course in music appreciation or introduction to music in order that they might learn about the esthetically satisfying experience to be gained by a deeper understanding of the world"s finest music. The schools at which this 30% are enrolled do not even offer one such course in music for the general college student. On the other hand, 970 of the students are in schools which require for graduation a course in music appreciation or introduction to music of every student. The remaining 6170 have such a course available if they can find the time in their schedule to take it. Of the 970 of students required to take a course in music only about one;fourthare in men"s colleges. Conversely, of the 30% of students who have no opportunity to take a course in order to develop a purely cultural understanding of music, five.­ sixths are in men"s schools or coeducational schools. It is easy to see why the cultural development of our Catholic professional men is so stunted. Even if they might have an inclination to de.­ velop some cultural interest, they are denied the opportunity by many of the Catholic colleges and universities which they attend.

A course in Gregorian chant is required at some women"s schools. But not one single men"s school is interested enough in the greatest sacred music ever written to require from its students an acquaintance with this artistic facet of their own religion. And Gregorian chant was written expressly for men, and can be inter; preted by men"s voices alone in a uniquely superb manner. It is cause for concern that Catholic universities persist in denying to their own students the cultural inheritance which rightly belongs to them. Most of the smaller Catholic colliges place a great stress upon their liberal arts programs. An important segment of a liberal arts

173 course should include experiences in~' the fine arts, among them music. How do these institutions, many of which have only weak, or sometimes non--existent music programs, often justify their pose as a school with emphasis upon a liberal arts training? Here are two ways in which this may be done. The first way is often used by, and especially adapted to, col-­ leges located in or near a large city. Their catalog prominently mentions thefact that a knowledge of the fine arts, including music, is necessary for every liberally educated person, and as a liberal arts college this is part of their philosophy of education. Then the catalog goes on to tell of all the cultural opportunities available to students attending its institution, such as symphony concerts, oper-­ atic performances, museums, etc. All of this information is true~ However, these are not opportunities which are uniquely available to students of this particular college-they are available to any persons who happens to live in or near this same large city! Actu.. ally, on the campus itself there may be little or no cultural activity in which the students may participate. The second device may be better adopted by schoo~s located some distance from a large city or other cultural center. Here the technique is to bring soloists and groups on the campus each year for musical performances and consider these as substitutions for the cultural experiences which the students do not have because of limitations in their own musical organizations. Unfortunately it is true that a few concentrated doses of musical culture each year will not equal the steady day to day diet. This is not to minimize the importance of artistic performances by well--known musical per" sonalities or groups on the college campus. But many of the greatest masterpieces in music are loved only after a prolonged acquaintance with them. One hearing of a Bach cantata, for example, cannot reveal all its beauties. But the student who has played or sung in the rehearsals and performances of sucp. a work will have had the opportunity to learn about the many facets of its beauty,and this esthetic experience will remain with him for life. Research reveals the availability of applied music instruction to students attending Catholic institutions of higher learning. 49% of the total students attending such schools have the opportunity of taking private lessons in one or more areas of music. Fees for this instruction, based on a lesson of one full hour per week for one semester, or two half--hour lessons for the same period of time, vary from $25 to $160. However, 49lfo of the fees are between $75 and $100 per semester, while only 25% are between $50 and $74. In almost every instance these fees are further augmented by a $10 to

174 $1 I) charge for a practice room with piano. Fees for organ instnlc; tion are usually higher by about $2'5, and an additional $2'5 practice fee for the use of a pipe organ is common. At the typical Catholic women"s college having a major in music, applied music instruction is offered in piano, organ, voice, and violin. Few of the women"s schools offer their music rnajars private instruction on any brass or woodwind instrument. A survey of musical organizations existing at Catholic colleges and universities reveals evidence of one group which is present on almost every campus. This is the glee club. Why is this musical organization so ubiquitous? Among other reasons, two especially can be cited. In the titl~ of the organization, the appearance of the word loCtglee"" connotes to the musically uninitiated its most com; monly understood meaning of joy, or merriment. It is not generally realized that the name is simply derived from the Anglo;Saxon term for music, and that it was also applied to an 18th century English type of song----'not necessarily of a cheerful character-for three or more solo voices. 10 Secondly, any vocal group is a cheap musical organization to maintain. The members come fully equipped with their own instruments, and musical arrangements are relatively inexpensive when compared to similar arrangements for an instru; mental organization. Thirty;three schools, mostly women"s colleges, also have a smaller select group of singers. Sometimes these are called madrigal singers, but often they bear a title having commercial appeal. In many instances they are meant to fill a public relations capacity by performing in the community at events such as meetings of service clubs. Only ten per cent of the Catholic colleges and universities having a major in musi~ also have an opera workshop. There is increasing evidence that a number of men"s and women"s schools are combining their vocal groups in at least one ,joint concert a year. This is the only way in which music depart; ments not having coeducation are able to partially solve their problem of repertoire limitation. There are also a very few ex; amples of a men"s and a women"s school combining to form an instrumental organization, these instances all being in the midwest. '58, or 2670, of the schools mention they have orchestras; 41 of these are colleges for women, 10 of them fur men. 42 schools say they have a concert band of some type, only two of these being

10 Grove's Dictionary of Music and Musicians (1954 ed.), III, 663.

17'5 women's colleges. This is 1970 of the total number of schools. The wind ensemble, a newer concept in organi~ations of wind instruments, exists at only two Catholic schools. It is difficult to determine in most instances the extent of the activity of these musical organizations. At institutions which do not have a major in music, or a small music department, it is most probable that the vocal and instrumental groups each perform about two major concerts a year. Also, at present it is possible to account for only around ten Catholic colleges and universities which make regular tours of several days or longer with their vocal or instru" mental organizations. There is also evidence that a number of Catholic schools, espe" cially.men's schools, have a dance band-now sometimes termed a lab band-as an extra"curricu1ar musical activity. Catalogs are understandably reticent on this point. Further, Catholic schools have been in the forefront of the college jazz festival movement. But there seems to be little likelihood that jazz will make much of an inroad into the music curriculum in the near future. This despite the fact that the American professional musician is more and more being called upon today to demonstrate performing proficiency in all musical styles. Because of their own rich cultural heritage,another type of organization in wh.ich Catholic schools should have an interest is the collegium musicum. A group such as this features older and seldom heard music authentically performed on the instruments of the per" iod in \vhich the music was written. Only three Catholic schools in the country are known to have any interest in this musically profitable type of activity. On the other hand, quite a number of Catholic colleges and universities devote a great deal of time to putting on a non"serious production of the Broadway musical type each year. It is difficult to see why they devote such vast amounts of time, often to the neglect of the finer musical literature, to music which is designed only to be entertaining. Presumably colleges and universities are in the educational business, not the entertainment business. Worst of all, this practice gives the student body, and especially the school administration, an entirely false concept of the position the music department should occupy in the total picture of higher education. Because of the great publicity which always attends this type of activity, they are led to believe that music is only entertainment, diversion, and fun-not \vorthy to be considered on the same level as the presumably more academic disciplines. It is true that music

176 can be entertaining. But it can also be, and the musical master' pieces are of their very nature, much more than this. It is one of the highest forms of human artistic endeavor. Institutions of higher learning should keep this fact in mind lest the musical comedy type of production distort the perspective in musical endeavors at their school. Let us reflect on a few of the general problerns which have come to the fore during this investigation. In Catholic higher learning, separate education for men and women leads to several serious problems for musical organizations. There is a definite limitation of repertoire for vocal organizations of men"sand wo' men"s voices alone. The instrumental field also presents .some limitations. Men"s schools lack string performers, so have few orchestras; women"s schools have a shortage of brass players, so have almost no bands. Combined organizations can provide the only answer for perplexities such as these. The small size of many music departments works to their dis' advantage also. In order to offer the variety of musical experiences necessary for building sound, all around musicianship in under' graduate music majors, it is my opinion that a music department of about 75 or more members is necessary. The performing abilities of students and faculty in the department should be well'balanced; performers on all types of instruments must be represented in depth. It is unfortunately true that very few of the music schools in Catholic colleges and universities could meet this standard. Such a standard, of course, is much higher than any set up bye. g. the National Association of Schools of Music. But our purpose is not to turn out music graduates \vith a minimum background; rather it is to mold musicians who will begin their career with a high degree of competence, and who will rise from there to still higher levels. The excellent training of these musicians will redound to their own benefit as well as reflect favorably upon the institution at which it was received. A word should be said about.the establishment of the proper attitude by faculty and students alike toward the study of music in college. An esprit de corps between faculty and students is very important in conducting a successful music department. It is diffi, ult to see how this can be accomplished·if a preponderantly large number of the faculty is teaching part time at the school"s facilities. It is true that often these teachers are the finest available, and truly outstanding in their particular field. But there still must be a sub, stantial nucleus of full time music faculty members who set the tenor of musical excellence in the department. Schools faced with 177 this situation must concentrate upon building an image of their in" stitution as an entity, rather than a collection of separate indiv-­ iduals. In his dissertation Father Schaum considers many other prob-­ lems in music departments of Catholic schools.ll Among these are: poorly prepared applicants, inadequate facilities, lack of interest on the part of the administration, small enrollments, faculty salary in-­ creases, miscellaneous problems of teachers and curriculum, and professional jealousy. His consideration of these problems is one of the most valuable portions. of his work and well worth the at-­ tention of music administrators in all institutions of higher learning. Throughout this research, which has sought to determine the present state of music in Catholic colleges and universities the ideal of drawing a true picture of the situation was kept uppermost in mind. The view presented should be neither too black nor too rosy. For this reason statistics have been used as much as possible. If these have pointed up the existence of some problems, there may then be lasting value in this work. A true awareness of the situation is the first step toward ingenious and unique solutions dictated by creative thinking.

11 Schaum, Rev. David W., 'The Music Program in Catholic Colleges and Universities in the United States, (Ph. D. dissertation). The Catholic University of America Press, Washington, D.C., 1961. 57~70.

ST. MICHAEL'S SCHOOL OF SACRED MUSIC 66 Bond Street, Toronto 2, Ontario SUMMER SCI-IOOL OF LITURGICAL MUSIC Founder: MSGR. ]. E. RONAN, P.A., M.e.G., L.e.S.e. Staff Includes: REV. PETER SOMERVILLE, Director REV. T. B. ARMSTRONG, L.e.G., L.e.S.e. REV. STEPHEN SOMERVILLE, composer of ~~Psalms for Singing" Affiliated with the Pontifical Institute of Sacred Music at Rome JUNE 29th - JULY 24th Sen.d for Syllabus

178 - REVIEW

Books I VISUAL AIDS IN WESTERN MUSIC William R. Clendenin and Louis C. Trzcinski Pruett Press, Boulder, Colo., 1960 55 pp., 18 plates, 4to

This spiral"bound booklet should be of great help to· those students who neglected to take notes while their professor lectured. The text proper is divided into two parts. Part One, ""Notes on the Historical Periods'" consists of two sections-""A First Approach" and ""A Second Approach." Why it was necessary to indulge in two approaches is not immediately apparent. In each ""Approach" the division of the text is virtually the same. - 1. HThe Middle Ages;" 2. ""The Renaissance;" 3. ""The Baroque;" 4. ""The Classic;" 5. c.4The Romantic;" 6. ""The Twentieth Century," (second ""Ap" proach," ""The Modern"). In the ""First Approach" the text is followed by a listing of ""Significant Elements." In the ""Second Approach" is to be found a listing of ""Recommended Reading" and ""Recommended Listening." Everything is expressed very concisely. As is to be expected in generalizations of this type many statements are only partially true. On page 10, under HSignificant Baroque Elements," we are told: 1. ""Harmonic texture or Monodic Style-a single line melody-achieved by Camerata;" 2. ""Major and Minor system emerges;" 3. ""Tonic and Dominant harmonies­ I"V"I;" and so on until at 15. we learn of the ""Science of Har" many-new harmonic concepts (Monteverdi, Lully, Rameau) ;''1 and 16. ""Fugue-most intricate style of contrapuntal writing for voices or instruments-reached its peak in the works of J. S. Bach." This fails to make clear the fact that what we are here ex" periencing is the clash of two style periods, the polyphonic, that began with the organum of the tenth century and reached its climax in the polyphonic masterpieces of Handel and Bach; and the harmonic, that began with the dance forms of the English virgin" alists and reached its climax in the symphonic masterpieces of Mo'­ zart and Beethoven. On the way, the rococo contributed some" what to the development of the dance forms while the monodic style of the Florentine Camerata led to the harmonic improvisation over a basso continuo that gave a powerful impetus to the clevel" opment of harplonic complexity.

179 A close scrutiny of the text reveals some surprising omissions. On page 9, the ""Sonata cia Chiesa"" and the loloSonata da Camera"" are mentioned but no mention is made of the Trio Sonata, one. of the most important of Baroque Chamber Music Ensembles. We are not told that a Trio Sonata may be performed by four, tl1ree, two or one instrument, nor are we informed that it could be written in three, four or sixteen movements. We have likewise no systematic discussion of the Concerto Grosso, the great Baroque orchestral ensemble, neither are we told that it too could be written in a variety of movements. The derivatives of the li"Sonata da Chiesa,"" the French Overture and the Neapolitan Symphony (Italian Sin" fonia) are conspicuous by their non"appearance. The sudden rise in production and popularity of the Dramma per Musica is not sufficiently emphasized. On page 26,,27, loloRecom" mended Listening,"" only loloDido and Aeneas"" is listed. At the time this booklet was written recordings of Monteverdi"s ""Orfeo"" and the loloCoronation of Poppea"" and Handel"s loloJulius Caesar,"" loloRodel" inda"" and loloSosarme"" were available. On page 53"54 we have an elaborate exposition of ""Fugal Pro" cedure. '!'! It would have added to the usefulness of the book if a similar amount of space had been allotted to ""Sonata Form'!'! and the loloFive Rondo Forms"". loloFugal Procedure"" is not above criticism. Fugal style is not completely a matter of binary form. Theremay be an exposition and a development but the return at the end of the development to the original tonality is in the nature of are" capitulation which usually takes the form of a Stretto followed by a climatic Coda, clearly a matter of three sections and not just two. Part Two consists of loloTeaching Aids"'! that are excellent and should prove very useful to the student. They are lolopronunciation of Church Latin,"" ""The Church Modes,"" loloOrdinary of the Mass, "t lolopalestrina Style of Modal Counterpoint,'!'! ""Fugal Procedure," HHistory of the Cadence."" Part Three consists of nine maps and Part Four of nine chronological charts. These should prove very helpful to the eager student. True, Plate IV, picturing the Burgundian and Franco" Flemish Schools, omits all mention of Philip da Monte and Orlando di Lasso, the two greatest masters of the Flemish style. Plate VI, picturing the ""Classical School-Romantic School-Italian Musical Art"" fails to list Rossini in Italy and omits Verdi completely. Plate IX would be improved if Kroeger were inserted at St. Louis instead of Gardner Read, Clapp in Iowa, Skilton in Kansas, David Guion in Texas, Harris and Stringham in Colorado. The chart that func"

180 tions as Plate X omits many important Romantic and Post--Romantic composers as Liszt, Frank, Bruckner, Smetana, Musorgsky, Tchai-­ kovsky, Dvorak, Mahler, R. Strauss, Rachmaninoff, Ravel. It would have been better to sacrifice the titles of a dozen compositions so as to be able to include these names. In a guide to the history of music, it seems incongruous to pad the bibliography with books on 440 Scoring for the Band"" (page 37), 4loMusic for the Millions"" (page 38), I.l.Music Education for Teen--Agers'" (page 40), 4loThe Search for Personal Freedom'l'l (page 40), ""Listening to Music Creatively"" (page 42), 4loThe Technique of Orchestration"" (page 42), ""The Singer"s Repertoire'l'l (page 44), ""Basic Counterpoint"" and ""Elementary Musicianship"" (page 45). In fact much space would be saved if. all titles were eliminated under the unhistorical headings ""Band,"" 4loConcert Guides,"" HEducation,'l'l HMusic Appre-­ ciation,"" HOrchestration,"" "Psychology,"" ""Theory."" The idea involved in the compilation of this book is an ex-­ cellent one. The 4loTwo Approaches"" should be merged into one, followed by the pertinent ""Significant Elements,'l'l ""Recommended Reading'l'l and 4loRecommended Listening."" The 4loBibliography"" could well be eliminated and the pertinent titles entered under 4loRecommended Reading for each period. ""Teaching Aids"" forming Part II would be improved by the addition of pages devoted to HSonata Form,"" and the HFive Rondo Forms."" The maps and charts should be carefully checked for omissions of important names and facts and, finally, why not follow the chart on "Violin Schools'l'l with one on 4loPiano Schools and Masters?"" Ernst C. Krohn

ee IV INTERNATIONALER KONGRESS FUR KIRCHENMUSIK IN KOLN, 22-30 JUNI, 1961 Johannes Overath, ed. Allgemeinen Cacilien--Verbandes, 1962 c. $5.00 386 pp. The proceedings of the Fourth International Congress of Church music, held in Cologne, Germany, from June 22nd to 30th, 1961, form a very handsome volume. Edited with the same pre-­ cision and attention to detail that made the congress itself a.long-­ to--be--remembered event, this compilation of papers, programs, letters and lists constitutes a first--rate record of a truly significa;nt convention. Of major interest are papers by Dr. Basilius Ebel, abbot of Maria Laach, and Dr. Rene B. M. Lenaerts of the Uni-­ versity of Louvain, both· of which are concerned with the music of

181 the Mass. Other contributors include Monsignor Angles of the Pontifical Institute of Sacred Music in Rome, Monsignor Romita, president of the Pueri Cantores, and Monsignor Ronan of Toronto, Canada. The problem of copyright and royalties with respect to sacred music is treated at great length, and considerable space is given to reports of the progress of church music in missionary lands. The volume is profusely illustrated with pictures taken at the va" rious events of the congress and with portraits of the ecclesiastical authorities. While German predominates as the language of the volume, with several other tongues represented also, the English reader can find several valuable papers in his native language. Lists of names and programs are common to all. Richard J. Schuler

Concerts REPORT ON THIS SEASON'S CONCERT BY THE ROGER WAGNER CHORALE IN WASHINGTON, D. C. In the course of his annual nationwide tour, Roger Wagner brought his celebrated Chorale to Constitution Hall in Wash" ington, D. C., on February 2 last. This visit gave Washingtonians an opportunity to hear not only these finely trained voices but also Roger Wagner's Wicks baroque pipe organ which is travelling (if that is the proper word) with the Chorale. The artistic technique of the Chorale remains superb. Their sound is rich and mellifluous and has an immediately recognizable character which no other choral group of the present day duplicates. The singers have achieved a smoothness and polish which can be the result only of a consummate degree of musical discipline. This fact is particularly remarkable when one considers that several of the members of the Chorale are soloists in their own right: James Tippey (Baritone) and Richard Levitt (Tenor) are two of the best known. I remember that in his Choir Workshop of 1958 in Los Angeles Wagner warned that soloists could be dangerous in a choir because their voices frequently do not blend with those of the other singers. There is no such danger in this group: no individual voices stand out when the Chorale is singing ensemble. My only criticism of the total effect relates not to the expertise of the singers but to the ratio of the voices. As the Chorale is constiuted at present there are seven sopranos, seven contraltos, six tenors, and six baritones. This particular ratio makes for an occasional lack of balance in favor of the ladies, and results sometimes in making the bass line audible only with difficulty. The acoustics of Constitution Hall

182 may have been to·blame at this particular concert, but, in any case, would it not be possible in the future to have a slightly larger pro" portion of bass voices?

The extended work on this program was the rarely heard De Prof'Undis of Michel..Richard de Lalande, the French organist and surintendant de la chapelle royale, who lived from 1657.. 1726. His fame rests largely on the collection of forty... two motets for chorus and orchestra, written for the chapel at Versailles, which were published posthumously in 1729. In some respects Lalande is a kind of inferior Charpentier: there is the same striving for grandeur, but without Charpentier's eloquence. On the other hand the texture of Lalande's writing is brighter and clearer than that of Lully, and his melodic line is generally firmer. His handling of polyphony is fluent and energetic, and his use of counterpoint is usually artistic rather than academic. Though not a great piece of writing, this De Profundis hardly deserves the almost complete neglect into which it has fallen. It is not especially funereal in character, but it has a good deal of elegance and charm. By keeping the soprano line generally high, Lalande prevents his setting of the De Profundis from being heavy or lugubrious. It rises slowly in tension to the end of the psalm and thereafter to the words "Re" quiem aeternam ,dona eis domine." Unfortunately the setting of the concluding line "Etlux perpetua luceat eis" is an anti.. climax, but the Chorale made it sound beautiful nevertheless. This piece was performed in memory of the death of President Kennedy. In view of this fact Roger Wagner showed very good taste in asking the audience, prior to the performance, not to applaud it.

The other selections of sacred music in the program are all well known: Victoria's Ave Maria, the Jubilate Deo of Giovanni Gab.. rieli, the Magnificat for triple chorus of Andrea Gabrieli, and the Laetatus Sum from ·the Vespers of the Virgin Mary (1610) by Monteverdi. Paul Manz played two Bach fugues on the baroque organ: the HLittle'l'l G Minor and the ""Jig" in C. The concert was rounded out .(perhaps incongruously) by three secular pieces from the Renaissance period, and some English and American folk songs. Alas-the strains of ""0 Bury Me Not on the Lone Prairie" and ""Whoopee Ti Yi Yo" assorted ill with the ethereal spirituality of Victoria and the Gabrielis, but the large audience obviously en" joyed everything on the program. The concert was a musical tri.. urnph for the Chorale and for its celebrated director, who inci.. dentally, conducted all the selections without having any musical text in front of him.

183 In The Washington Post of February 3 Paul Hume expressed w;hat every sensitive person in the hall must have felt with respect to the musicianship of the Chorale: l.(,Wagner's singers are instantly responsive, .and, having beautiful voices, make unvaryingly· won" derful sound in anything they sing." David Greenwood Masses .. MESSE ZU EHREN DER HEILIGEN CACILIA Joseph Venantius von Wass. Anton Bahm &1 Sohn (World Library) SATB, Organ, 2 trumpets, 2 trombones (ad lib.) Score c $2.3 I); voice parts c $0.3 I); brass parts c $0.3 I) This is not a new composition, but it does have some signifi.. cance for 1963, since this is the hundredth anniversary of the birth of the composer and the twentieth year since his death. Wass was an Austrian who was considerably influenced by the music of Anton Bruckner. His style is that of the late Romanticists, but the ideal of the Cecilian movement is clearly present in his works for church~ These include Masses, Requiems, organ works and other pieces, and they constitute a considerable catalog. This Mass in honor of St. Cecilia is an expressive, rather dramatic setting of the text. It is not difficult and is quickly appreciated. ·The structure is predominantly chordal, but there are frequent unison passages, particularly in the Credo. The brass parts, which are skillfully composed, add a great climax to the forte passages and carry the intensity of the music to a great height. N either the organ nor the brass parts are difficult and either could be performed by careful amateur players vvith some practice. The Sanctus has a great nobility with a series of full chords moving in .slow succession supported by a full organ and the brass. The Benedictus is a delicate treatment of the text and provides the only extended attempt at contrapuntal writing in the Mass. Per.. haps the Gloria is the most vigorous section, moving very quickly through the text to the climax of the closing. phrases. A large group will make this music sound most effective, al .. though it could well be undertaken by the average choir. It is a good piece to begin with if one is anxious to introduce instruments into the accompaniment. Well"performed, it can inspire and lift the congregation to great heights. Richard J. Schuler

184 DAS VOLKSREQUIEM "LUX AETERNA" Paul Deschler Unison, organ. Edition Lucerna (World Library) Score $1.00; voice parts $0.15 Since the recent change in the rubrics Requiem Masses are not so frequent in parish Mass schedules, but on those days that a black Mass is permitted the organists and singers are often expected to sing several Masses in succession. To vary the setting often assures a more perfect performance and prevents the abuses that too fre; quent use may let creep in. Such an alternate setting of the Mass for the Dead is this C.C.people's Requiem" by Paul Deschler, a Swiss. Intended for congregational use, its il10st obvious characteristic is its simplicity, but repeated hearings of it demonstrate that its reverent treatment of the sacred texts ofthe funeral liturgy is just as marked a characteristic. The Mass is· brief and the words are quickly dis; patched but not without a clear declamation and a chant/like union between text and music. The setting is modal; the organ accom; paniment, very simple. This is a useful composition either for the soloist looking for an alternate setting to substitute for the Gre; gorian, or for the choir that needs to let the chant version rest occasionally. It can be learned very quickly by children. Richard J. Schuler

Motets VIRGA JESSE FLORUIT Anton Bruckner (SATB a cappella) Peters Edition--$ .30 Serene music '\vith great dynamic variety, this motet will need a soprano section which is exceptionally agile and accurate. Bass and tenor parts divide briefly. Latin text.

CHRIS1' THE LORD IS RISEN Ned Rorem (SATB a cappella) Peters Edition-$ .25 This is number three of Three Hymn Anthems. The Charles Wesley text is familiar, and this is no doubt the original version. Vocally, the anthem demands very little. Rhythmic patterns and the unusual harmonic ideas will take careful preparation. The brevity of the work is unfortunate, but the harmonies are a chal; lenge. English text.

185 THREE GRADUA,LES Anton Bruckner (Mixed voices a cappella) Peters Edition-$ .30 Os Justimeditabitur sapientiam (No.2) Modal in character, this gradual requires eight parts, and con; siderable skill in contrapuntal singing. Bruckner"s stature as a vocal composer needs no comment. Latin text.

BUCCINATE G. Gabrieli Mixed Voices (accompanied) Peters Edition-$ .90 This Co Copestmottette"" is written for nineteen voices in four choirs. This will eliminate most village choirs. But. here is stimu; lating music for ambitious college choral groups. Accompaniment for two trumpets, three trombones, cello, and contrabass. Latin text.

o ADMIRABILE COMMERCIUM Thomas Stolzer (1480;1&)26) (SSATB, a cappella) Peters Edition-$ .30 A Christmas motet for five voices with text in Latin and Ger; man. A splendid addition to the literature of the period.

EASTER CANTATA FOR MIXED VOICES, BRASS, AND PERCUSSION Daniel Pinkham Peters Edition The vocal score in hand is reduced to piano for rehearsal pur; poses, and so one can only guess at the effect of the full score. This is a relatively short work with intriguing sonorities, and a fascin; ating whirlwind of a double canon in Part lIB. This is lively music of great rhythmic interest; the accompaniment is peppered with characteristic major;minor clashes, and although there is consid; erable shifting of accent and meter,'the vocal writing is clear, imag; inative and brilliant. (But the composer and the performers should not have to put up with the engraver"s confusion on pages five and six). English text from the Gospels and Psalms.

186 CHORALVORSPIELE (Volume II) H. Walcha Organ Peters Edition-·$3.00 Helmut Walcha, renowned teacher and performer, has given us a second volume of preludes on familiar chorales. In form and general structure, the composer stays close to Bach and Buxtehude. Considerable tension is developed harmonically, and it is sometimes harsh, but always interesting. In performance, the pieces require extremely careful attention to touch. Walcha supplies us with clear and precise symbols for the specified differences in touch. These .symbols should be adopted internationally by all publishers of organ music! Notes on interpretation are provided in English and in German. A photograph and stop list of the Dreikonigskirche in Frankfurt am Main, adds considerable interest to Walcha'ls ex" plicit registration. Myron Roberts

Organ Music

ORGEL INTONATIONEN. MUSIC DIVINA Corbinian Gindele Fred. Pustet (World Library) 1958 $1.00 12 pp. This isa collection of short intonations for the organ, written in each of the eight modes, by the organist at the German abbey of Beuron. The booklet is part of a series under the general editorship of the famous German chant expert, Bruno Stablein. It consists of two sets of pieces in each mode, suitable· for use as intonations to Gregorian selections or as short postludes after the completion of the chants. So often a brief introduction can establish the mode of the chant without merely using the opening phrase of the chant itself. These compositions of Dam Corbinian can be most useful both for those who use the full Gregorian settings for the Proper or the Ordinary and for those who still utilize psalm tones in the various modes. The pitch of the two series differs sufficiently that the need of transportation to match the introduction to the chant selection seems quite remote. Even as short interludes without reference to any particular chant these brief pieces are worthwhile. They are on two staffs without pedal. Richard J. Schuler 187 CONSTITUTIO,N ON LITURGY

Introduction

1. This sacred Council has several aims in view; it desires to impart an ever increasing vigor to the Christian life of the faithful; to adapt more suitably to the needs of our own times those institu... tions which are subject to change; to foster whatever can promote union among all who believe in Christ; to strengthen whatever can help to call the whole of mankind into the household of the Church. The Council therefore sees particularly cogent reasons for under'" taking the reform and promotion of the liturgy. 2. For the liturgy, ""through which the work of our redemp'" tion is accomplished" (Secret of the ninth Sunday after Pentecost), most of all in the divine sacrifice of the eucharist, is the outstanding means whereby the faithful may express in their lives, and manifest to others, the mystery of Christ and the real nature of the true Church. It is of the essence of the Church that she be both human and divine, visible and yet invisibly equipped, eager to act and yet intent on contemplation, present in. this world and yet not at home in it; and she is all these things in such wise that in her the human is directed and subordinated to the divine, the visible likewise to the invisible, action to contemplation, and this present world to that city yet to come, which we seek (Heb. 13, 14). While the liturgy daily builds up those who are within (the Church) into a holy temple of the Lord, into a dwelling place for God in the Spirit (Eph. 2:21"'22), to the mature measure of the fullness of Christ (Eph. 4: 13), at the same time it marvelously strengthens their power to preach Christ, and thus shows forth the Church to those who are outside as a sign lifted up among the nations (Is. 11: 12) under which the scattered children of God may be gathered together (John 11:52) until there is one sheepfold and one shepherd (John 10: 16). 3. Wherefore the sacred Council judges that the following principles concerning the promotion and reform of the liturgy should be called to mind, and that practical norms should be estab... lished. Among these principles and norms there are some which can and should be applied both to the Roman rite and also to all the other rites. The practical norms which follow, however, should be

188 taken as applying only to the Roman rite, except for those which, in the very nature of things, affect other rites as well. 4. Lastly, in faithful obedience to traditions, the sacred Coun.­ cil declares that holy Mother Church holds all lawfully acknowl.­ edged rites to be of equal right and dignity; that she wishes to preserve them in the future and to foster them in every way. The Council also desires that,where necessary, the rites be revised carefully in the lights of· sound tradition, and that they be given new vigor to meet the circumstances and needs of modern times.

Chapter I

General Principles for the Restoration land Promotion of the Sacred Liturgy

I. The Nature of the Sacred Liturgy and Its Importance in the Church's Life. , . God who ""wills that all men be saved and come to the knowledge of the truth" (I Tim. 2:4), ""who in many and various ways spoke in times past to the fathers by the prophets" (Heb. 1: 1), when the fullness of time had come sent His Son, the Word made flesh, anointed by the Holy Spirit, to preach the gospel to the poor, to heal the contrite ofheart (Is. 61: 1; Luke 4: 18), to be a "I.bodily and spiritual medicine" (St. Ignatius of Antioch, to the Ephesians, 7,2), the Mediator between God and man (I Tim. 2:5). For His humanity, united with the person of the Word, was the instrument of our salvation. Therefore in Christ ""the perfect achievement of our reconciliation came forth, and the fullness of divine worship was given to us" (Sacramentarium Veronese(ed. Mohlberg), n. 1265; cf. also n. 1241, 1248). The wonderful works of God among the people of the Old Testament were but a prelude to the work of Christ the Lord in redeeming mankind and giving perfect glory to God. He achieved his task principally by the paschal mystery of His blessed passion, resurrection from thedead, and glorious ascension, whereby Hdying, he destroyed our death and, rising, He restored our life'l'l (Easter Preface to the Roman Missal). For it was from the side of Christ as he slept the sleep of death upon the cross that there came forth the \'c'wondrous sacrament of the whole Church" (Prayer before the secoq.d lesson for Holy Saturday, as it was in the Roman Missal before the restoration of Holy Week) .

189 6. Just as Christ was sent by the Father, so also He sent the apostles, filled with the Holy Spirit. This He did that, by preaching the gospel to every creature (Mark 16: 15), they might proclaim that the Son of God, by His death and resurrection, had freed us from the power of Satan (Acts 26: 18) and from death, and brought us into the kingdom of His Father. His purpose also was that they might carry forward the work of salvation which they had pro' claimed, by means of sacrifice and sacraments, around which the entire liturgical life revolves. Thus by baptism men are plunged into the paschal mystery of Christ; they die with Him, are buried with Him, and rise with Him (Rom. 6:4; Eph. 2:6; Col. 3:1; II Tim. 2: 11) ~ they receive the spirit of adoption as sons lofoin which we cry: Abba, Father" (Rom. 8: 15), and thus become true adorers such as the Father seeks (John 4:23). In like manner, as often as they eat the supper of the Lord they proclaim the death of the Lord until He comes (I Cor. 11 :26). For that reason, on the very day of Pentecost, when the Church appeared before the world, lofothose who received the word" from Peter lofo were baptized." And lofothey continued steadfastly in the teaching of the apostles and in the com; munion of the breaking of bread and in prayers ... praising God and being in favor with all the people" (Acts 2: 41,47). From that time onwards the Church has never failed to come together to celebrate the paschal mystery: reading those things ""which were in all the scriptures concerning Him" (Luke 24: 27), celebrating the. eucharist in which lofothe victory and triumph of His death are again made present" (, Session XIII, Decree on the Holy Eucharist, c. I) and at the same time giving thanks lofo to God for His unspeakable gift" (2 Cor. 9: 15) in Christ Jesus, lofo in praise of His Glory" (Eph. 1;12) through the power of the Holy Spirit. 7. To accomplish so great a work, Christ is always present in His Church, especially in her liturgical celebrations. He is present in the sacrifice of the Mass, not only in the person of His minister, ""the same now offering, through the ministry of priests, .who for; merly offered himself on the cross" (Council of Trent Session XXII, Doctrine on the Holy Sacrifice of the Mass, c. 2), but especially under the eucharistic species. By His power He is present in the sacraments, so that when a man baptizes it is really Christ Himself who baptizes (St. Augustine, Tractatus in Ioannem, VI, n. 7). He is present in His word, since it is he himself who speaks when the Holy Scriptures are read in the Church. He is present, lastly, when the Church prays and sings, for He promised: lofoWhere two or three are gathered together in my name, there am I in the midst of them" (Matt. 18:20).

190 Christ indeed always associates the Church with Himself in this great work wherein God is perfectly glorified and men are sanctified. The Church is His beloved Bride who calls to her Lord, and through Him offers worship to the Eternal Father. Rightly, then, the liturgy is considered as an exercise of the priestly office of Jesus Christ. In the liturgy the sanctification of man is signified by signs perceptible to the senses" and is effected in a way which corresponds with each of these signs; in the liturgy the whole public worship is performed by the mystical body of Jesus Christ, that is, by the head and His members.

From this it follows that every liturgical celebration, because it is an action of Christ the priest and of His body which is the Church, is a sacred action surpassing all others; no other action of the Church can equal its efficacy by the same title and to the same degree. S. In the earthly liturgy we take part in a foretaste of that heavenly liturgy which is celebrated in the Holy City of Jerusalem towards which we journey as pilgrims, where Christ is sitting at the right hand of God, a minister of the holies and of the true tabernacle (Apoc. 21:2; Col. 3:1; Heb. 8:2); we sing a hymn to the Lord'ls glory with all the warriors of the heavenly army; venerating the memory of the saints, we hope for some part and fellowship with them; we eagerly await the Savior, our Lord Jesus Christ, until He, our Life, shall appear and we too will appear with him in glory (Phil. 3: 20; Col. 3: 4) . 9. The sacred liturgy does not exhaust the entire activity of the Church. Before men can come to the liturgy they must be called to faith and to conversion: HHow are they to call upon Him in whom they have not yet believed? But how are they to believe Him whom· they have not heard? And how are they to hear if no·one preaches? And how are men to preach unless they be sent?" (Rom. 10: 14--15). Therefore the Church announces the good tidings of salvation to those who do not believe, so that all men may know the. true God and Jesus Christ whom He has sent, and may be converted from their ways, doing penance (John 17:3; Luke 24: 27; Acts 2: 38).To believers also the Church must ever preach faith and penance; she must prepare them for the sacraments, teach them to observe all that Christ has commanded (Matt. 28; 20), and invite them to all the works of charity, piety, and the apostolate. For all these works make it clear that Christ'ls faithful, though not of

191 this world, are to b~~ the light of the world and to glorify the Father before men.

10. Nevertheless the liturgy is the sumtnit towards which the activity of the Church ]5 directed; at the same time it is the· fount from which all her power flows. For the aim and object of apostolic works is that all who are made sons of God by faith and baptism should come together to praise God in the midst of His Church, to take part in the sacrifice, and to eat the Lord's supper. The liturgy in its turn moves the faithful, filled with C,C,the paschal sacrements," to be Hone in holiness" (Postcommunion for both Masses of Easter Sunday); it prays that ....they may hold fast in their lives to what they have ~rasped by their faith" (Collect of the Mass for Tuesday of Easter Week); the renewal in the eucharist of the· covenant between the Lord and men draws the faithful into the compelling love of Christ and sets them on fire. From the liturgy, therefore, and especially from the eucharist, as from a fount, grace is poured forth upon us; and the sanctification of men in .Christ and the glorification of God, to which all other activities of the Church are directed as towards their end, is achieved in the most efficacious possible way. 11. But in order that the liturgy may be. able to produce its full effects, it is necessary that the faithful come to it with proper dispositions, that their minds should be attuned to their voices, and that they should cooperate with divine grace lest they receive it in vain (2 Cor. 6: 1). Pastors of souls must therefore realize that, when the liturgy is celebrated, something more is required than the mere observation of the laws governing valid and licit cele.­ bration; it is their duty also to insure that the faithful take part fully aware of what they are doing, actively engaged in the rite, and enriched by its effects. 12. The spirituallife, however, is not limited solely to parti.­ cipation in the liturgy. The Christian is indeed called to pray with his brethren, but he must also enter into his chamber to pray to the Father in secret (Matt. 6:6); yet more, according to the teaching of the Apostle, he should pray without ceasing (1 Thess. 5: 17). We learn from the same Apostle that we must always bear about in our body the dying of Jesus, so that the life also of Jesus may be made manifest in our bodily frame (2 Cor. 4:10'-11). This is why we ask.the Lord in the sacrifice of the Mass, that "C,receiving the offering of the spiritual victim" He may fashion us for Himself c,c,as an eternal gift" (Secret for Monday of Pent. Week).

192 13. Popular devotions of the Christian people are to be highly commended, provided they accord with the laws and norms of the Church, above all when they are ordered by the Apostolic See.

Devotions proper to individual Churches also have a special dignity if they· are undertaken by mandate of the bishops according to customs or books lawfully approved.

But these devotions should be so drawn upthat they harmonize with the liturgical seasons, .accord with the sacred liturgy, are in some fashion derived from it, and lead the people to it, since, in fact, the liturgy by its very nature far surpasses any of them. II. The Promotion of Liturgical Instruction and Active Participation. 14. Mother Church earnestly desires that all the faithful should be led to that full, conscious, and active participation in litur" gial celebrations which is demanded by the very nature of the lit-­ urgy. Such participation by the Christian people as H a chosen race, a royal priesthood, a holy nation, a redeemed people'l'l (1 Pet. 2:9; cf. 2:4,,5) is their right and duty by reason of their baptism. . In the restoration and promotion of the. sacred liturgy, this· full and active participation by all the people is· the aim to be considered before all else; for it is the primary and indispensable source from which the faithful are to derive the true Christian spirit; and there" fore pastors of souls must zealously strive to achieve it, by means of the necessary instruction, in all their pastoral work. Yet it would he futile to entertain any hopes of realizing this unless the .pastors themselves, in the first place, become thoroughly imbued with the spirit and power of the liturgy, and undertake to give instruction about it. A prime need, therefore, is that attention be directed, first of all~ to the liturgical instruction of the clergy. Wherefore the sacred Council has decided to enact as follows: 15. Professors who are appointed to teach liturgy in scm" inaries, religious houses of study, and theological faculties must be properly trained for their work in institutes which specialize in this subject. 16. The study of sacred liturgy is to be ranked among the compulsory and major courses in seminaries and religious houses of studies; in theological faculties it is to rank among the principal courses. It is to be taught under its theological, historical, spiritual, pastoral, and juridical aspects. Moreover, other professors, while

193 striving to expound the mystery of Christ and the history of salva" tion·from the angle proper to each of their own subjects, must never" theless do so in a way which will clearly bring out the connection between their subjects and the liturgy, as also the unity which underlies all priestly training. This consideration is especially important to professors of dogmatic, spiritual, and pastoral theology and for those of holy scripture. 17. In seminaries and houses of religious, clerics shall be given a liturgical formation in their spiritual life. For this they will need proper direction, so that they may be able to understand the sacred rites and take part in them wholeheartedly; and they will also need personally .. to celebrate the sacred mysteries, as well as popular devotions which are imbued with the spirit of the liturgy. In addition they must learn how to observe the liturgical laws, so that life in seminaries and houses of religion may be thoroughly influenced by the spirit of the liturgy. 18. Priests, both secular and religious, who are already work" ing in the Lord's vineyard are to be helped by every suitable means to understand ever more fully what it is that they are doing when they perform sacred rites; they are to be aided to live the liturgical life and to share it with the faithful entrusted to their care. 19. With zeal and patience, pastors of souls must promote the liturgical instruction of the faithful, and also their active parti" cipation in the liturgy both internally and externally, taking into account their age and condition, their way of life, and standard of religious culture. By so doing, pastors will be fulfilling one of the chief duties of a faithful dispenser of the mysteries of God; and in this matter they must lead their flock not only in word but also by example. 20. Transmissions of the sacred rites by radio and television shall be done with discretion and dignity, under·the leadership and direction of a suitable person appointed for this office by the bishops. This is especially important when the service to be broadcast is the Mass.

III. 'The Reform of the Sacred Liturgy. 21. In order that the Christian people may more certainly derive an abundance of graces from the sacred liturgy, holy Mother Church desires to undertake with great care a general restoration of the liturgy itself. For the liturgy is made up of immutable. ele" ments divinely instituted, and of elements subject to change. These

194 not only may but ought to be changed with passage of time if they have suffered from intrusion of anything out of harmony with the inner nature of the liturgy or have become unsuited to it. In this restoration, both texts and rites should be drawn up so that they express more clearly the holy things which they signify; the Christian people, so far as possible, should be enabled to under.. stand them with ease and to take part in them fully, actively, and as befits a community. Wherefore the sacred Council establishes·the following norms:

(A) General Norms 22. (i) Regulation of the sacred liturgy depends solely on the authority of the Church, that is, on the Apostolic See and, as laws determine, on the bishop. (ii)· In virtue of power conceded by the law, the regulation of the liturgy within certain defined limits be.. longs also to various kinds of competent territorial bodies of bishops legitimately established. (iii) Therefore no other person, even if he be a priest, may add, remove, or change anything in the liturgy on his own authority. 23. That sound tradition may be retained, and yet the way remain open to legitimate progress, a careful investigation is always to be made into each part of the liturgy which is to be revised. This investigation should be theological, historical, and pastoral. Also the general laws governing the structure and meaning of the liturgy must be studied in conjunction with the experience derived from recent liturgical reforms and from the induIts conceded to various places. Finally, there must be no innovations unless the good of the Church genuinely and certainly requires them; and care must be taken that any new forms adopted should in some way grow or" ganically from forms already existing. As far as possible, notable differences bet\veen the rites used in adjacent regions must be carefully avoided. 24. Sacred scripture is of the greatest importance in the celebration of the liturgy. For it is from scripture that lessons are read and explained in the homily, and psalms are sung; the prayers, collects, and liturgical songs are scriptural in their inspiration, and it is from the scriptures that actions and signs derive their meaning. Thus to achieve the restoration, progress, and·adaptation of the sacred liturgy, it is essential to promote that warm and living love for scripture to which the venerable tradition of both eastern and western rites gives testimony.

195 2I) • The liturgical books are to be revised as soon as possible; experts are to be employed on the task, and bishops are to be con" suIted, from various parts of the world.

(B) Norms Drawn from the Hierarchic and Communal Navure of the Liturgy 26. Liturgical services are not private functions, but are cele" brations of the Church, which is the ""sacrament of unity," namely, the holy people united and arranged under their bishops (St. Cyprian, On the Unity of the Catholic Church, 7; cf. letter 66, n. 8,3). Therefore liturgical services pertain to the whole body of the Church; they manifest it and have effects upon it; but they con" cern the individual members of the Church indifferent ways, ac" cording to their differing rank, office, and actual participation. 27. It is to be stressed that whenever rites, according to their specific nature, make provision for communal celebration involving the presence and active participation. of the faithful, this way of celebrating them is to be preferred, so far as possible, to a celebration that is individual and quasi"private.

This applies with especial force to the celebration of Mass and the administration of the sacraments, even though every Mass has of itself a public and social nature. 28. In liturgical celebrations each person, minister or layman, who has an office to perform, should do all, but only, those parts which pertain to his office by the nature of the rite and· the prin" ciples of liturgy. 29. Servers, lectors, commentators, and members of the choir also exercise a genuine liturgical function. They ought, therefore, to discharge their office with the sincere piety and decorum de" manded by so exalted a ministry and rightly expected of them by God's people. Consequently they must all be deeply imbued with the spirit of the liturgy, each in his own measure, and they must be trained to perform their functions in a correct and orderly manner. 30. To promote active participation, the people should be en" couraged to take part by means of acclamations, responses, psalm" ody, antiphons, and songs, as well as by actions, gestures, and bodily

196 attitudes. And at the proper times·· all should observe a reverent silence.

31. The revision of the liturgical books must carefully attend to the provision of rubrics also for the people's parts. 32. The liturgy makes distinctions between persons according to their liturgical function and sacred Orders, and there are litur; gical laws providing for due honors to be given to civil authorities. Apart from these instances, no special honors are to be paid in the liturgy to any private persons or classes of persons, whether in the ceremonies or by external display.

(C) Norms Based 'Upon the Didactic and Pastoral Nature of the Liturgy.

33. Although the sacred liturgy is above all things the worship· of the divine Majesty, it likewise contains much instruction for the faithful (Council of Trent, Session XXII, Doctrine on the Holy Sacrifice of· the Mass, c. 8). For in the liturgy God speaks to His people and Christ is still proclaiming His gospel. And the people reply to God both by song and prayer. Moreover, the prayers addressed to God by the priest who presides over the assembly in the person of Christ are said in the name of the entire holy people and of all present. And the visible signs used by the liturgy to signify invisible divine things have been chosen by Christ or by the Church. Thus not only when things are read l.I.which were written for our instruction" (Rom. 15:4), but also when the Church prays or sings or acts, the faith of those taking part is nourished and their minds are raised to God, so that they may offer Him their rational service and more abundantly receive His grace. Wherefore, in the revision of the liturgy, the following general norms should be observed: 34. The rites should be distinguished by a noble simplicity; they should be short clear, and unencumbered by useless repetitions; they should be within the people's powers of comprehension, and normally should not require much-explanation. 35.· That the intimate connection between words and rites may be apparent in the liturgy: (1) In sacred celebrations there is to be more reading from holy scripture, and it is to be more varied and suitable. (ii) Because the sermon is part of the liturgical ser~

197 vice, the best place for it is to be indicated even in the rubrics, as far as the nature of the rite will allow; the ministry of preaching is to be fulfilled with exactitude and fidelity. The sermon, more" over, should draw its content mainly from scripture and liturgical sources, and its character should be that of a proclamation of God's wonderful works in the history of salvation, the mystery of Christ, ever made present and active within us, especially in the celebration of the liturgy. (iii) Instruction which is more explicitly liturgical should also be given in a variety of ways; if necessary, short direc" tives to be spoken by the priest or proper minister should be pro" vided within the rites thenlselves. But they should occur only at the more suitable moments, and be in prescribed or sinlilar words. (iiii) Bible services should be encouraged, especially on the vigils of the more solemn feasts, on some weekdays in Advent and Lent, and on Sundays and feast days. They are particularly to be commended in places where no priest is available; when this is so, a deacon or some other person authorized by the bishop should preside over the celebration.

36. (i) Particular law remaining in force, the use of the Latin language is to be preserved in the Latin rites. (ii) But since the use of the mother tongue, whether in the Mass, the administra" tion of the sacrament, or other parts of the liturgy, frequently may be of great advantage to the people, the limits of its employment may be extended. This will apply in the first place to the readings and directives, and to some of the prayers and chants, according to the regulations on this matter to be laid down separately in subsequent chapters. (iii) These norms being observed, it is for the competent territorial ecclesiastical authority mentioned in Art. 22, (ii), to· decide whether, and to what extent, the vernacular language is to be used; their decrees are to be approved, that is, confirmed, by the Apostolic See. And, whenever it seems to be called for, this authority is to consult with bishops of neighboring regions which have the same language. (iiii) Translations from the Latin text into the mother tongue intended for use in the liturgy must be approved by the competent territorial ecclesiastical authority men" tioned above.

(D) Norms for Adapting the Liturgy to the Culture and Traditions of Peoples. 37. Even in the liturgy, the Church ·has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community; rather does she respect and

198 foster the genius and talents of the various races and peoples. Any; thing in these people's way of life which is not indissolubly bound up with superstition and error she studies with sympathy and, if possible, preserves intact. Sometimes in fact she admits such things into the liturgy itself, so long as they harmonize with its true and authentic spirit. 38. Provisions shall also be made, when. revising the liturgical books, for legitimate variations and adaptation to different groups, regions, and peoples, especially in mission lands, provided that the substantial unity of the Roman rite is preserved; and this should be borne in mind when drawing up the rites and devising rubrics. 39. Within the limits set by the typical editions of the litur; gical books, it shall be for the competent territorial ecclesiastical authority mentioned in Art. 22, (ii), to specify adaptations, espe; cially in the case of the administration of the sacraments, the sacra; mentals, processions, liturgical language, sacred music, and the arts, but according to the fundamental norms laid down in this Con; stitution. 40. In some places and circumstances, however, an ev€n more radical adaptation of the liturgy is needed, and this entails greater difficulties. Wherefore: (i) The competent territorial ecclesiastical auth; ority mentioned in Art. 22, (ii), must, in this matter carefully and prudently consider which elements from the traditions and culture of individual peoples might appropriately be admitted into divine worship. Adaptations which are judged to be useful or necessary should then be submitted to the Apostolic See, by whose consent they may be introduced. (ii) To insure that adaptations may be made with all the circumspection which they demand, the Apostolic See will grant power to this same territorial ecclesiastical authority to permit and to direct, as the case requires, the necessary prelim; inary experiments over a determined period of time among certain groups suited for the purpose. (iii) Because liturgical laws often involve special difficulties with respect to adaptation, particularly in mission lands, men who are e)(perts in these matters must be employed to formulate them.

IV. Promotion of Lit1urgical Life Diocese and Parish.

41. The bishop is to be considered as the high priest of his flock, from whom. the life in Christ of his faithful is in some way derived and upon whom it is in some way dependent.

199 Therefore all should hold in great esteem the liturgical life of the diocese centered around the bishop, especially in his cathedral church; they must be convinced that'the pre..eminent manifestation of the Church consists in the full active participation of all God's holy people in these liturgical celebrations, especially in the same eucharist, in a single prayer, at one altar, at which there presides the bishop surrounded by his college of priests and by his ministers (St. Ignatius of Antioch, To the Smyrnians, 8; To the Magnesians, 7; to the Philadelphians, 4) . 42. But because it is impossible for the bishop always and everywhere to preside over the whole flock in.his Church, he cannot do other than establish lesser groupings of the faithful. Among these the parishes, set up locally under a pastor who takes the place of the bishop, are the most important; for in some manner they represent the visible Church.constituted throughout the world. And therefore the liturgical life of the parish and its relation' ship to the bishop must be fostered theoretically and practically among the faithful and clergy; efforts, also must be made to en' courage a sense of community within the parish, above all in the common celebration of the Sunday Mass.

v. 'The Promotion of Pastoral,Liturgical Action. 43. Zeal for the promotion and restoration of the liturgy is rightly held to be a sign of the providential dispositions of God· in our time, as a movement of the Holy Spirit in His Church. It is today a distinguishing mark of the Church's life, indeed of the whole tenor of contemporary religious thought and action. So that this pastoral..liturgical action may become even more vigorous in the Church the sacred Council decrees: 44. It is desirable that the competent territorial ecclesiastical authority mentioned in Art. 22, (ii), set up a liturgical commission, to be assisted by experts in liturgical science, sacred music, art, and pastoral practice. So far as possible the commission should be aided by some kind of Institute for Pastoral Liturgy, consisting of persons who are eminent in these matters, and including laymen as circumstances suggest. Under the direction of the above..men.. tioned territorial ecclesiastical authority the commission is to regu" late pastoral..liturgical action throughout the territory, and to pro" mote studies and necessary experiments whenever there' is question of adaptations to be proposed to the Apostolic See.

200 45. For the same reason .every diocese is to have a commis" sion on the sacred liturgy under the direction of the bishop, for promoting the liturgical apostolate. Sometimes it may be expedient that several dioceses should form between them one single commission which will be able to promote the liturgy by common consultation. 46. Besides the commission pn the sacred liturgy, every dio" cese, as far as possible, should have commissions for sacred music and sacred art. These three commissions must work in closest collaboration; indeed it will often be best.to fuse the three of them into one single commission.

Chapter II

The Most Sacred Mystery of the Eucharist

47. At the Last Supper on the night when He was betrayed, our Saviour instituted the eucharistic sacrifice of His body and blood. He did this in order to perpetuate the sacrifice of the Cross throughout the. centuries until He should come again, and so to entrust to His beloved spouse, the Church, a memorial of His death and resurrection; a sacrament of love, a sign of unity, a bond of charity (St. Augustine, Tractatus in loannero, VI, n. 13), a paschal banquet in which Christ is eaten, the mind is filled with grace, and a pledge of future glory is given to us. (Roman Breviary, f.east of Corpus Christi, Second Vespers, antiphon to the Magnificat) . 48~ The Church, therefore, earnestly desires, that Christ"s faithful, when present at this mystery of faith, should not be there as strangers or silent spectators; on the contrary, through a good understanding of the rites and prayers they should take part in the sacred action conscious of what they are doing, with devotion and full collaboration. They should be instructed by God's word and be nourished at the table of the Lord's body; they should give thanks to God; by offering the immaculate victim, .not only through the hands of the priest, but also with him, they should learn to offer themselves; through Christ the Mediator (St. Cyril of Alex" andria, Commentary on the Gospel of John, book XI, chap. XI"XII: Migne, Patrologia Graeca, 74, 557,,564), they.should be· drawn day by day into ever more perfect union with God and with each other, so that finally God may be all in all.

201 49. For this reason the sacred Council, having in mind those Masses which are celebrated with the faithful assisting, especially on Sundays and feasts of obligation, has made the following decrees in order that the sacrifice of the Mass, even in the ritual forms of its celebration, may become pastorally efficacious to the fullest degree. 50. The rite of the Mass is to be revised in such a way that the intrinsic nature and purpose of its several parts, as also the connection between them, may be more clearly manifested, and that devout and active participation by the faithful may be more easily achieved. For this purpose the rites are to be simplified, due care being taken to preserve their substance; elements which, with the passage of time, came to be duplicated, or were added with but little ad; vantage, are now to be discarded; other elements which have suf; fered injury through accident of history are now to be restored to the vigor which they had in the days of the holy Fathers, as may seem useful or necessary.

51. The treasures of the Bible are to be opened up more lavishly, so that richer fare may be provided for the faithful at the table of God's word. In this way a more representative portion of the holy scriptures will be read to the people in the course of a prescribed number of years. 52. By means of the homily the mysteries of the faith and the guiding principles of the Christian life are expounded from the sacred text, during the course of the liturgical year; the homily, therefore, is to be highly esteemed as part of the liturgy itself; in fact, at these Masses which are celebrated with the people assisting on Sundays and feasts of obligation, it should not be omitted except for a serious reason. 53. Especially on Sundays and feasts of obligation there is to be restored, after the Gospel and the homily, C,C,the common prayer" or C,C,the prayer of the faithful." By this prayer, in which the people are to take part, intercession will be made for holy Church, for the civil authorities, for those oppressed by various needs, for all mankind, and for the salvation of the entire world (1 Tim. 2: 1;2) . 54. In Masses which are celebrated with the people, a suitable place may be allotted to their mother tongue. This is to apply in the first place to readings and Hthe common prayer," but also, as

202 local conditions may warrant, to those parts which pertain to the people, according to the norm laid down in Art. 36 of this Con.­ stitution.

Nevertheless steps should be taken so that the faithful may also be able to sayar sing together in Latin those parts of the Or.­ dinary of the Mass which pertain to them.

And wherever a more extended use of the mother tongue within the Mass appears desirable, the regulation laid down in Art. 40 of this Constitution is to be observed.

I) 5. That more perfect form of participation. in the Mass whereby the· faithful after the priest's communion, receive the Lord's body from the same sacrifice, is strongly recommended.

It is therefore of the highest importance that the faithful should easily understand the sacramental signs, and should frequent with great eagerness those sacraments which were instituted to nourish the Christian life.

60. Holy Mother Church has, moreover, instituted sacra.­ mentals. These are sacred signs which bear a resemblance to the sacraments; they signify effects, particularly of a spiritual kind, which are obtained through the Church's intercession. By them men are disposed to receive the chief effect of the sacraments, and various occasions in life are rendered holy. 61. Thus, for well.-disposed members of the faithful, the liturgy of the sacraments and sacramentals sanctifies almost every event in their lives: they are given access to the stream of divine grace which flows from the paschal mystery of the passion, death, and resurrection of Christ, the fount from which all sacraments and sacramentals draw their power. There is hardly any proper use of material things which cannot thus be directed towards the sancti.­ fication of men and the praise of God.

62. With the passage of time, however, there have crept into the rites of the sacraments and sacramentalscertain features which have rendered their nature and purpose far from clear to the people of today; hence some changes have become necessary to adapt them to the needs of our own times. For this reason the· sacred Council decrees as follows concerning their revision.

63. Because the use of the mother tongue in the administra.­ tion of the sacraments and sacramentals can often be of considerable

203 help to the people, this use is to be extended according to the fol" lowing nouns:

a. The vernacular language may be used in administering the sacraments and sacramentals, according to the norm of Art. 36.

b. In harmony with the new edition of the Roman Ritual, particular rituals shall be prepared without delay by the competent territorial ecclesiastical authority mentioned in Art. 22, (ii), of this Constitution. These rituals, which are· to be adapted, also as regards the language employed, to the needs of the different regions, are to be reviewed by the Apostolic See and then introduced into the regions fo~ which they have been prepared. But in drawing up thse rituals or particular collections of rites, the instructions prefixed to the individual rites in the Roman Ritual, whether they he pastoral or rubrical or whether they have special social import, shall not be omitted.

64. The catechumenate for adults, comprising several dis" tinct steps, is to be restored and to be taken into use at the dis" cretion of the local ordinary. By this means the time of the cat.. echumenate, which is intended as a period of suitable instruction, may be sanctified by sacred rites to be celebrated at successive in" tervals of time.

6I) . In mission lands it is found that some of the peoples already make use of initiation rites. Eletnents from these, when capable of being adopted to Christian rtiual, may be admitted along with those already found in Christian tradition, according to the norm laid down in Art. 37,,40 of this Constitution.

66. Both of the rites for the baptism of adults are to be re" vised; not only the simpler rite, but also the more solemn one, which must take into account the restored catechumenate. A special Mass

Hfor the conferring of baptism'I 'I is to be inserted into the Roman Missal. 67. The rite for the baptism of infants is to be revised, and it should be adapted· to the circumstance that those to be baptized are, in fact, infants. The·roles of parents and godparents, and al$o their duties, should be brought out more clearly in the rite itself. 68. The baptismal rite should contain variants, to be used at the discretion of the local ordinary, for occasions when a very large number are to be baptised together. Moreover, a shorter rite is to

204 be drawn up, especially for mission lands, to be used by catechists, but also by the faithful in general when there is danger of death, and neither priest nor deacon is available. 69. In place of the rite called the ~~Order of supplying what was omitted in the baptism of an infant," a new rite is to be drawn up. This should manifest more fittingly and clearly that the infant, baptized by the short rite, has already been received into the Church.

And a new rite is to be drawn up for converts who have al ... ready been validly baptized; it should indicate that they are now admitted to communion with the Church. 70. Except during Eastertide, baptismal water may be blessed within the rite of baptism itself by an approved shorter formula. 71. . The rite of confirmation is to be revised and the intimate connection which this sacrament has with the whole of Christian initiation is to be more clearly set forth; for this reason it is fitting for candidates to renew their baptismal promises just before they are confirmed. Confirmation may be given within the Mass when convenient; when it is given outside the Mass, the rite that is used should be introduced by a formula to be drawn up for this purpose. 72 The rite and formulas for the sacrament of penance are to be revised so that they more clearly express both the nature and effect of the sacrament. 73. HExtremeUnction", which may also and more fittingly be called ~~anointing of the sick," is not a sacrament for those only who are at the point of death. Hence5 as soon as anyone of the faithful begins to be in danger of death from sickness or old age, the fitting time for him to receive this sacrament has certainly already arrived. 74. In addition to the separate rites for anointing of the sick and for viaticum, a continuous rite shall be prepared according to which the sick man is anointed after he has made his confession and before he receives viaticum.

75. The number of the anointings is to be adopted to the occasion, and the prayers which belong to the rite of anointing are to be revised so as to correspond with the varying conditions of the sick who receive the sacrament. 76. Both the ceremonies and texts of the ordination rites are

205 to be revised. The address given by the bishop at the beginning of each ordination or consecration may be in the mother tongue. When a bishop is consecrated, the laying on of hands may be done by all the bishops present. 77. The marriage rite now found in the Roman Ritual is to be revised and enriched in such a way that the grace of the sacra; ment is more clearly signified and the duties of the spouses are taught. ""If any regions are wont to use other praiseworthy customs and ceremonies when celebrating the sacrament of matrimony, the sacred Synod earnestly desires that these by all means be retained" (Council of Trent" Session XXIV, November 11, 1563, On Re; form, chap. 1, Cf. Roman Ritual, title VIII, chap. lIn. 6). Moreover the competent territorial ecclesiastical authority mentioned in Art. 22 (ii) of this Constitution is free to draw up its own rite suited to the usages of place and people, according to the provision of Art. 63. But the rite must always conform to the law that the priest assisting at the marriage must ask for and obtain the consent of the contracting parties. 78. Matrimony is normally to be celebrated within the Mass, after the reading of the gospel and the homily, and before Hthe prayer of the faithfu1." The prayer for the bride, duly amended to remind both spouses of their equal obligation to remain faithful toeach other, may be said in the mother tongue. But if the sacrament of matrimony is celebrated apart from Mass, the epistle and gospel from the nuptial Mass are to be read at the beginning of the rite" and the blessing should always be given to the spouses. 79. The sacramentals are to undergo· a revision which takes into account the primary principle of enabling the faithful to parti; cipate intelligently, actively, and easily; the circumsta;nces of our own days must also be considered. When rituals are revised, as laid down in Art. 63 new sacraments may also be added as the need for these becomes apparent. Reserved blessings shall be very few; reservations shall be in favor only of bishops and ordinaries. Let provisions be made that some sacramentals at least in special circumstances and at the discretion of the ordinary, maybe administered by qualified lay persons.

206 80. The rite for the consecration of virgins at present found in the Roman Pontifical is to be revised. Moreover, a rite of religious profession and renewal of vows shall be drawn up in order to achieve greater unity, sobriety, and dignity. Apart from exceptions in particular law, this rite should be adopted by those who make their profession or renewal vows within the Mass. Religious profession should preferably be made within the Mass. 81. The rite for the burial of the dead .should express more clearly the paschal character of Christian death, and should corres" pond more closely to the circumstances and traditions found in various regions. This holds good also for the liturgical color to be used. 82. The rite for the burial of infants is to be revised and a special Mass for the occasion should be provided.

Chapter IV

The Diyine Office

83. Christ Jesus, high priest of the new and eternal covenant, taking human nature introduced into this earthly exile that hymn which is sung throughout all ages in the halls of heaven. He joins the entire community of mankind to Himself, associating it with His own singing of this canticle of divine praise. For he continues His priestly work through the agency of His Church, which is ceaselessly engaged in praising the Lord and inter... ceding for the salvation of the whole world. She does this, not only by celebrating .the eucharist, but also in other ways, especially by praying the divine office. 84. By tradition going back to early Christian times, the divine office is devised so that the whole course of the day and night is made holy by the praises of God. Therefore, when this wonder'" ful song of praise is rightly performed by priests and others who are deputed for this purpose by the Church's ordinance, or by the faithful praying together with the priest in the approved form, then itis truly the voice of the bride addressed to her bridegroom; it is the very prayer which Christ Himself, together with His body, addresses to the Father.

207 85. Hence ail who render this service are not only fulfilling a duty of the Church, but also are sharing in the greatest honor of Christ"s spouse, for by offering these praises to God they are standing before God"s throne in the name of the Church, their Mother.

86. Priests who are engaged in the sacred pastoral ministry will offer the praise of the hours with greater fervor the more vividly they realize that they must heed St.Paul"s exhortation: HPray without ceasing"" (1 Thess. 5: 17). For the work in which they labor will effect nothing and bring forth no fruit except by the power of the Lord who said: HWithout Me you can do nothing."" (John 15:5) . That "!'s why the apostles, instituting deacons, said: "''''We will devote ourselves to prayer and to the min; istry of the world"" (Acts 6:4). 87. In order that the divine office may be better and more perfectly prayed in existing circumstances, whether by priests or by other. members of the Church, the sacred Council, carrying further the restoration already so happily begun by the Apostolic See, has seen fit to decree as follows concerning the office of the Roman rite.

88. Because the purpose of the office is to sanctify the day, the traditional sequence of the hours is to be restored so that once again they may be genuinely related to the time of the day when they are prayed, as far as this may be possible. Moreover, it will be necessary to take into account the modern conditions in which daily life has to be lived, especially by those who are called to labor in apostolic works. 89. Therefore, when the office is revised, these norms are to be observed: a. By the venerable tradition of the universal Church, Lauds as morning prayer and Vespers as evening prayer are the two hinges on which the daily office turns; hence they are to be considered as the chief hours and are to be celebrated as such. b. Compline is to be drawn up so that it will be a suitable prayer for the end of the day. c. The hour known as Matins, although it should retain the character of nocturnal praise when celebrated in choir, shall be adapted so that it may be recited at any hour of the day; it shall be made up of fewer psalms and longer readings.

208 d. The hour of Prime is to be suppressed. e. In choir the minor hours of Terce, Sext and None are to be observed. But outside choir it will be lawful to select anyone of these three, according to the respective time of the day. 90. The divine office because it is the public prayer of the Church, is a source of piety and nourishment for personal prayer. And therefore priests and all others who take part in the divine office are earnestly exhorted in the Lord to attune their minds to their voices when praying it. The better to achieve this, let them take steps to improve their understanding of the liturgy and of the Bible, especially of the psalms. In reviewing the Roman office, its ancient and venerable treasures are to be so adapted that all those to whom they are handed may more extensively and easily draw profit from them. 91. So that.it may really be possible in practice to observe the course of the hours proposed in Art. 89, the psalms are no longer to be distributed throughout one week, but through some longer period of time. The work of revising the psalter already happily begun, is to be finished as soon as possible, and is to take into account the style of Christian Latin, and liturgical use of psalms, also when sung, and the entire tradition of the Latin Church. 92. As regards the readings, the following shall be observed: a. Readings from sacred scripture shall be arranged so that the riches of God's word may be easily accessible in more abundant measure. b. Readings excerpted from the works of the fathers, doctors. and ecclesiastical writers shall be better selected. c. The accounts of martyrdom or the lives of the saints are to accord with the facts of history. 93. To whatever extent may seem desirable, the hymns are to be restated to their original form, and whatever smacks of myth; ology or ill accords with Christian piety isto be removed or changed. Also, as occasion may arise, let other selections from the treasury of hymns be incorporated. 94. That the day may be truly sanctified, and that the hours themselves may be recited with spiritual advantage, it is best that

209 each of them be prayed at a time which most closely corresponds with its true canonical time. 95. Communities obliged to choral office are bound tocele" brate the office in choir every day in addition to the conventual Mass. In particular: a. Orders of canons, of monks and of nuns, and of other regulars bound by law or constitutions to choral office must cele" brate the entire office. b. Cathedral or collegiate chapters are bound to recite those parts of the office imposed on them by general or particular law. c. All members of the above communities \vho are in major orders or who are solemnly professed, except for lay brothers, are bound to recite individually those canonical hours which they do not pray in choir. 96. Clerics not bound to office in choir, if they are in major orders, are bound to pray the entire office every day, either in common or individually, as laid down in Art. 89. 97. Appropriate instances are to be defined by the rubrics in which the liturgical service may be substituted for the divine office. In particular cases, and for a just reason, ordinaries can dis" pense their subjects wholly or in part from the obligation of reciting the divine office, or may commute the obligation. 98. Members of any institute dedicated to acquiring perfec" tion who, according to their constitutions, are to recite any parts of the divine office are thereby performing the public prayer of the Church. They, too, perform the public prayer of the Church who, in virtue of their constitutions, recite any short office, provided this is drawn up after the pattern of the divine, office and is fully approved. 99. Since the divine office is the voice of the Church, that is, of the whole mystical body publicly praising God, those clerics who are not obliged to office in choir, especially priests who live together or who assemble for any purpose, are urged to pray at least some part of the divine office in common. All who pray the divine office, whether in choir or in common, should fulfill the task entrusted to them as perfectly as possible.

210 This refers not only to the internal devotion of their minds but also to their external manner of celebration. It is moreover, fitting, that the office, both in· choir and in common, be sung when possible. 100. Pastors of souls should see to it that the chief hours, especially Vespers, are celebrated in common in church on Sundays and the more solemn feasts. And the laity, too, are encouraged to recite the divine office, either with the priests, or among themselves, or even individually. 101. (i) In accordance with the centuries"old tradition of the Latin rite, the Latin language is to be retained by clerics in the divine office. But in individual cases the ordinary has the power of granting the use of a vernacular translation to those clerics for whom the use of Latin constitutes a grave obstacle to their praying the office properly. The vernacular version, however, must be one that is drawn up according to the provision of Art. 36 (ii).The competent superior has the power to grant the use of the vernacular in the celebration of the divine office, even in choir, to nuns and to members of institutes dedicated to acquiring perfection, both men who are not clerics and women. The version, however, must be one that is approved. (iii) Any cleric bound to the divine office fulfills his obligation if he prays the office in the vernacular together with a group of the faithful or with those mentioned in (ii) above, provided that the text of the translation is approved.

Chapter V

T he Liturgical Year

102. Holy Mother Church is conscious that she must cele" brate the saving work of her divine spouse by devoutly recalling it on certain days throughout the course of·the year. Every week, on the day which she has called the Lord's day, she keeps the memory of the Lord's resurrection, which she also celebrates once in the year, together with His blessed passion, in the most solemn festival of Easter. Within the cycle of a year, moreover, she unfolds the whole mystery of Christ, from the incarnation and birth until the ascen-­ sion, the day of Pentecost, and the expectation of the·blessed hope of the coming of the Lord.

211 Recalling thus the mysteries of redemption, the Church opens to the Faithful the riches of the Lord's powers and merits, so that these are in some way present for all time, and the faithful are enabled to lay hold upon them and become filled with saving grace.

103. In celebrating this annual cycle of Christ's mysteries, holy Church' honors with especial love the Blessed Mary, Mother of God, who is joined by an inseparable bond to the saving work of her Son. In her the Church holds up and admires the most excellent fruit of redemption, and joyfully contemplates, as in a faultless image, that which she herself desires and hopes wholly to be.

104. The Church has also included in the annual cycle days devoted to the memory of the martyrs and the other saints. Raised up .to perfection by the manifold grace of God, and already in possession of eternal salvation, they sing God's perfect praise in heaven and offer prayers for us. By celebrating the passage of these saints from earth to heaven the Church proclaims the paschal mystery achieved in the saints who. have suffered and been glorified with Christ; she proposes them to the faithful as examples who draw all to the Father through Christ, and through their merits she pleads for God's favors.

105. Finally, in the various seasons of the year and according to her traditional discipline, the Church completes the formation of the faithful by means of pious practices for soul and body, by instruction, prayer, and works of penance and of mercy.

Accordingly the sacred Council has seen fit to decree as fol-­ lows.

106. By a tradition handed down from the apostles which took its origin from the very day of Christ's resurrection, the Church celebrates the paschal mystery every eighth day (i. e., seventh day, according to modern computation); with good reason this, then, bears the name of the Lord's day or Sunday. For on this day Christ's faithful should come together into one place so that, by hearing the word of God and taking part in the eucharist, they may call to mind the passion, the resurrection, and glorification of the Lord Jesus, and may thank God who I.l.has begotten them again, through the resurrection of Jesus Christ from the dead, unto a living hope" (1 Pet. 1: 3). Hence the Lord's day is the original feast day, and it should be proposed to the piety of the faithful and taught to

212 them so that it may become in fact a day of joy and of freedom from work. Other celebrations, unless they be truly of greatest importance, shall not have precedence over the Sunday, which is the foundation and kernel of the whole liturgical year.

107. The liturgical year is to be revised so that the traditional customs and discipline of the sacred seasons shall be preserved or restored to suit the conditions of modern times; their specific char'" acter is to be retained, so that they duly nourish the piety of the faithful who celebrate the mysteries of Christian redemption, and above all the paschal mystery.. If certain adaptations are considered necessary on account of local conditions, they are to be made in accordance with the provisions of Art 39 and 40.

108. The minds of the faithful must be directed primarily towards the feasts of· the Lord, whereby the mysteries of salvation are celebrated in the course of the year. Therefore, the proper time shall be given the preference which is its due over the feasts of the saints, so that the entire cycle of the mysteries of salvation may be suitably recalled.

109. The ·season of Lent has a twofold character: first by recalling or preparing for baptism and then by penance, it disposes the faithful, who more diligently hear the word of God and devote themselves to prayer, to celebrate the paschal mystery. This two" fold character is to be brought into greater prominence both in the liturgy and by liturgical catechesis. Hence:

a. More use is to be made of the baptismal features proper to the Lenten liturgy; some of them, which used to flourish in by" gone days, are to be restored as may seem good.

b. The same is to apply to the penitential elements. As re" gards instruction it is important to impress on the minds of the faithful not only the social consequences of sin but also that essence of the virtue of penance which leads to the detestation of sin as an offense against God; the role of the Church in penitential practices is not to be passed over, and the people must be exhorted to pray for sinners.

110. During Lent penance should not be only internal and individual, but also external and social. The practice of penance shall be fostered in ways that are possible in our own times· and in different regions, and according to the circumstances of the

213 faithful; it should be encouraged by the authorities mentioned in Art. 22.

Nevertheless, let the paschal fast be kept sacred. Let it' be celebrated everywhere on Good Friday and, where possible, pro.­ longed throughout Holy Saturday, so that the joys of the Sunday of the resurrection may be attained with uplifted and clear mind.

111. The saints have been traditionally honored in the Church and their authentic relics and images held in veneration. For the feasts of the saints proclaim the wonderful works of Christ in His servants, and display to the faithful fitting examples for their imitation.

Lest the feasts of the saints should take precedence over the feasts which commemorate the very mysteries of salvation, many of them should be left to be celebrated by a particular Church or nation or family of religious; only those should be extended to the universal Church which commemorate saints who are truly of uni.­ versal importance.

Chapter VI

Sacred M:usic

112. The musical tradition of the universal Church is a trea" sure of inestimable value, greater even than that of any other art. The main reason for this preeminence is that, as sacred song unites to the words, it·forms a necessary or integral part of the solemn liturgy.

Holy Scripture indeed, has bestowed praise upon sacred song (Eph. 5:19; Col. 3:16), and the same maybe said of the fathers of the Church and of the Roman pontiffs who in recent times, led by St. Pius X, have explained more precisely the ministerial function supplied by sacred music ·in the service of the Lord.

Therefore sacred music is to be considered. the more holy in proportion as it is more closely connected with the liturgical action, whether it adds delight to prayer, fosters unity of minds, or confers gr~ater solemnity upon the sacred rites. . But the Church approves of all forms of true art having the needed qualities, and admits them into divine worship.

214 Accordingly, the sacred Council, keeping to the norms and precepts of ecclesiastical tradition and discipline, and having regard to the purpose of sacred music which is the glory of God and the santification of the faithful, decrees as follows:

113. Liturgical worship is given a more noble form when the divine.offices are celebrated solemnly in song, with the assistance of sacred ministers and the active participation of the people.

As regards the language to be used, the provisions of Art. 361 are to be observed; for the Mass, Art. 54; for the sacraments Art. 63; for the divine office, Art. 101.

114. The treasury of sacred music is to be preserved and fostered· with great care. Choirs must be diligently promoted, especially in cathedral churches; but bishops and other pastors of sows must be at· pains to insure that, .whenever the sacred action is to be celebrated with song, the whole body of the faithful may be able to contribute that active participation which is rightly their's, as laid down in Art. 28 and 30.2

11 5. Great importance is to be attached to the teaching and practice of music in seminaries, in the novitiates and houses of study of religious of both sexes and also in other Catholic institutions and schools. To impart this ·instruction, teachers are to be carefully trained and put in charge of the teaching of sacred music.

It is desirable also to found higher institutes of sacred music whenever this can be done.

Composers and singers, especially boys, must also be given a . genuine liturgical training.

116. The Church acknowledges Gregorian chant as specially suited to the Roman liturgy; therefore, other things being equal, it should be given pride of place in liturgical services.

But other kinds of sacred music, especially polyphony, are by no means excluded from liturgical celebrations, so long as they accord with the spirit of the liturgical action, as laid down in Art. 30. (See footnote 2.)

117. The typical edition of the books of Gregorian chant is

215 to be completed; and a more critical edition is to be prepared of those books already published since the restoration by St. Pius X.

It is desirable also that an edition be prepared containing simpler melodies, for use in small churches.

118. Religious singing by the people is to be skillfully fos.. tered, so that in devotions and sacred exercises, as also during lit.. urgical services, the voices of the faithful may ring out according to the norms and requirements of the rubrics.

119. In certain parts of the world, especially mission lands, there are peoples who have their own musical traditions, and these playa great part in their religious and social life. For this reason due importance is to be attached to their music, and a suitable place is to be given to it, not only in forming their attitude towards reli.. gion, but also in adapting worship. to their native genius, as indi.. cated in Art 39 and 40.

Therefore, when missionaries are being given training in music, every effort should be made to see that they become competent in promoting the traditional music of these peoples, both in schools and in sacred services, as far as may be practicable.

120. In the Latin Church the pipe organ is to be·held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church's ceremonies and powerfully lifts up man's mind to God and to higher things.

But other instruments also may be admitted for use in divine worship, with the knowledge and consent of the competent author.. ity, as laid down in Art 22, (ii) 37 and 40. This may be done, however, only on condition that the instruments are suitable, or can be made suitable, for sacred use, in accord with the dignity of the temple, and truly contribute to the edification of the faithful.

121. Composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures.

Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be .sung only by large choirs, but providing also for the needs of small choirs and for the entire assembly of the faithful.

216 The texts intended to be sung must always be in conformity with Catholic doctrine; indeed they should be drawn chiefly from holy scripture and from liturgical sources.

Chapter VII

Sacred Art and Sacred Furnishings

122. Very rightly the fine arts are considered to rank among the noblest activities of man"s genius, and this applies especially to religious art and to its highest achievement, which is sacred art. The arts, by their very nature, are orientated towards the infinite beauty of God, which they attempt in some way to portray by the work of human hands; they achieve their purpose in redounding to God"s praise and glory in proportion as they are directed the more exclusively to the single aim of turning men"s minds devoutly towards God.

Holy Mother Church has therefore always been the friend of the fine arts and has ever sought their noble help, with the special aim that all things set apart for use in divine worship should be truly worthy, becoming and beautiful, signs and symbols of the super-­ natural world; and for this purpose she has trained artists, in fact, the Church has, with good reason, always reserved to herself the right to pass judgment upon the arts deciding which of the works of artists are in accordance with faith, piety, and cherished tradi-­ tionallaws and thereby fitted for sacred use.

The Church has been particularly careful to see that sacred furnishings should worthily and .beautifully serve the dignity of worship, and has admitted changes in materials, style, or orna-­ mentation prompted by the progress of the technical arts with the passage of time.

Wherefore it has pleased the Fathers to issue the following decree on these matters.

123. The Church has not adopted any particular style of art as her very own; she has admitted styles from every period according to the natural talents and circumstances of peoples,. and the needs of the various rites. .Thus, in the course of centuries, she has brought into being a treasury of art which must be very carefully preserved. The art of our own days, coming from every 217 race and region, shall also be given free scope in the Church, pro" vided that it adorns the sacred buildings and holy rites with due reverence and honor; ·thereby it is enabled to contribute its own voice to that wonderful chorus of praise in honor of the Catholic faith sung by great men in times gone by.

124. Ordinaries, by the encouragement and favor they show to art which is truly sacred should strive after noble beauty rather than mere sumptuous display. This principle is to apply also ·in the matter of sacred vestments and ornaments.

Let bishops carefully remove from the house of God and from other sacred places those works of artists which are repugnant to faith, morals, and Christian piety, and which offend true religious sense either by depraved form or by lack of artistic worth, by mediocrity and pretense.

And when churches are to be built, let great care be taken that they be suitable for the celebration of liturgical services and for the active participation of the faithful.

125. The practice of placing sacred images in churches so that they may be venerated by the faithful is to be maintained. Nevertheless their number should be moderate and their relative positions should reflect right order. For otherwise they may create confusion among the Christian people and foster devotion on doubtful orthodoxy.

126. When passing judgment on works of art, local ordinaries shall give a hearing to the diocesan commission on sacred art and, if needed, also to others who are especially expert, and to the com" missions referred to in Art. 44, 45 and 46. Ordinaries must be very careful to see that sacred furnishings and works of value are not disposed of or dispersed; for they are the ornaments of the house of God. 127. Bishops should have a special concern for artists, so as to imbue them with the spirit of sacred art and of the sacred liturgy. This they may do in person or through suitable priests who are gifted with a knowledge and love of art. It is also desirable that schools or academies of sacred art should be founded in these parts of the world where they would be useful so that artists may be trained.

218 All artists who, prompted by their talents, desire to serve God's glory in holy Church should ever bear in mind~ that they are engaged in a kind of sacred imitation of God the Creator, and are concerned with works destined to be used in Catholic worship, to edify the faithful, and to foster their piety and their religious formation.

12g. Along with the revision of the liturgical books, as laid down in Art. 25, there is to be an early revision of the canons and ecclesiastical statutes which govern the provisions of material things involved in sacred worship. These laws refer especially to the worthy and well planned construction of sacred buildings, the shape and construction of altars, the nobility, placing, and safety of the eucharistic tabernacle, the dignity and suitability of the baptistry, the proper ordering of sacred images, embellishments, and vestments. Laws which seem less suited to the reformed liturgy are to be brought into harmony with it, or else abolished; and any which are helpful are to be retained if already in use, or introduced where they are lacking.

According to the norm of Art. 22 of this Constitution, the territorial bodies of bishops are·empowered to adopt such things to the needs and custom of their different regions; this applies espe" cially to the materials and form of sacred furnishings and vestments.

129. During their philosophical and theological studies, clerics are to be taught about the history and development of sacred art, and about the sound principles governing the production of its works. In consequence they will be able to appreciate and preserve the Church's venerable monuments, and be in a position to aid, by good advice, artists who are engaged in producing works of art.

130. It is fitting that the use of pontificals be reserved to those ecclesiastical persons who have episcopal rank or some parti" cular jurisdiction.

Appendix

A Declaration of the Second Ecumenical Council of the Vatican on Rey;sion of the Calen.dar

The Second Ecumenical Council of the Vatican, recognizing the importance of the wishes expressed by many concerning the

219 assignment of the feast of Easter to a fixed Sunday and concerning an unchanging calendar, having carefully considered the effects which could result from the introduction of a new calendar, declares as follows:

1. The sacred Council would not object if the feast of Easter were assigned to a particular Sunday of the Gregorian Calendar, provided that those whom. it may concern, especially the brethren who are not in communion with the Apostolic See, give their consent.

2. The sacred Council likewise declares that it does not oppose efforts designed to introduce a perpetual calendar into civil society.

But, among the various systems which are being suggested to stabilize a perpetual calendar and to introduce it into civil life, the Church has no objection only in.the case of those systems which retain and safeguard a sevell--day week with Sunday, without the introduction of any days outside the week, so that the succession of weeks may be left intact, unless there is question of the most serious reasons. Concerning these the Apostolic See shall judge.

220 Supplement to CAECILIA, Spring Issue, 1964 CAECILIA INDEX-VOLUME 90 Articles Abbot Weakland-Editorial ---______103 A Letter to Hans Kung-Editorial c______99 An Outline of the Practical Problem-Editorial 14 Citation 73 Constitution on Liturgy-Vatican Council II ~ 188 Credits-Editorial c______10 ~ Father Vitry and Vernacular Chant-Editorial ~ 104 Final Form of "Project 90"-Editorial 43 Murder in the Abbey-Editorial 104 Project: Volume 90-Editorial· 3 Project 90 (I)-Editorial 106 Project 90 (H)-Editorial 107 Project 90 (III)-Editorial 119 Sacred Music: Pars Integrans and True Art-Editorial 5 Sound of Te Deu'm-Rev. Aloysius Knoll, O.F.M.Cap. 83 The Breviary Reform of 1632: Its Effects on the Hymns-James Pruett______23 The Cappella Sistina-Richard Schuler 143 The Life of Giovanni Maria N anino-Richard Schuler. 46 Theodore Marier-Editorial ~ 103 The Present State of Music in Catholic Colleges and U niversities- Dr. Lavern J.Wagner .------c------__ ~ 166 The Use of Gregorian Psalmody With the English Language-Rev. RobertWurm__ 161 William Ripley Dorr 74 Reviews BOOKS Fourth Internationaler Kongress Fur Kirchenmusik in Kaln, 22~30 Juni, 1961 ed. Johannes Overath-Richard Schuler .------161 Jesus, A Dialogue With the Saviour-A Monk of the Eastern Church-F.P.S. 130 The Art of Music-B. Cannon; A. Johnson; W. Waite-Ernst C. Krohn 28 The Harvard Brief Dictionary of Music-W. Opel; R. Daniel-Ernst C. Krohn______29 The Layman's Missal-Helicon Press-The Reverend James Brice Clark 129 Visual Aids in Western Music-W. Clendenin; L. Trzcinski-Ernst C. Krohn 179 CONCERTS Eleventh Annual Liturgical Music Workshop Program-Boys Town, Nebr. 69 Report on·This Season's Concert by The Roger Wagner Chorale in Washington D. C.-David Greenwood 184

MASSES Christ~Mass-Manus Monnikendam-George T. Carthage 30 Mass for Peace-Noel Goemanne-George T. Carthage 30 Das Volksrequiem-Paul Deschler-Richard J. Schuler 185 Mass in A Minor-Claudio Casciolini-Louise Cuyler 85 Messe in Mixolydisch (G}-Anton Heiller-Sister Theophane 85 Messe Zu Ehren Det Heiligen Cacilia-Joseph Venantius von Wass- Richard Schuler ~ ------184 Missa Super Erhalt Uns Dei Deinem Wort-Anton Heiller-Sister Theophane______8 I) Missa Brevis-Noel Goemanne-Dr. Lavern Wagner -______84 Missa Orbis Factor-Irfenaeo Segarra-C. Alexander Peloquin 84 MOTETS Buccinate-G. Gabrieli-Myron Roberts c .------______186 Christ the Lord Is Risen-Ned Rorem-Myron Roberts .------185 Easter Cantata for Mixed Voices, Brass, and Percussion-Daniel Pinkham- Myron Roberts 186 Hodie Christus N atus Est-Clerembault-Louis Cuyler 93 Laudate Dominum-Marc A. Charpentier-Louise Cuyler .------93 Nos Autem-Anerio-Lquise Cuyler ~______93 Reviews-Continued a Admirabile Commercium-Thomas Stolzer-'-Myron Roberts. " 187 o Magnum· Mysterium-Morales-Louise Cuyler 93 Puer Natus Est-Morales-Louise Cuyler 93 Threegraduales-Anton Bruckner-Myron Roberts 186 Virga Jesse Floruit-Anton Bruckner-Myron Roberts 185

ORGAN An Album of Praise-Various Composers-Sister Theophane 9, An Easy Album of Praise-Various Composers-Sister Theophane 95 Bach, Sinfonia in F, from Cantata 156-Arr. Alexander Schreiner- Martin W. Bush 132 Choralvorspiele (Volume II)-H. Walcha-Myron Roberts ~--- Claire de Lune-Debussy-Martin W. Bush 133 Eleven Organ Pieces-Gordon Young-SisterTheophane 94 English Keyboard Music of the Eighteenth and Nineteeenth Centuries-ed. William Tubbs-Martin W. Bush 132 French Masterworks for Organ-ed. Alexander Schreiner-Martin W. Bush 132 March Pontifical-Camil Van Hulse-Martin W. Bush 133 May Day Carol-English Folk Song-Martin W. Bush 133 Orgal Intonationem Music Divina-Corbinian Gindele-Richard J. Schuler 187 Praeludia-Contemporary German Composers-Sister Theophane 95 Prelude, Offertory and Postlude~Myron D. Casner-Martin W. Bush 132 Seascape-Darwin Wolford-Martin W. Bush 133 Seven Tone Poems-'-Gordan Young-Martin W. Bush c______133 Six Little Fugues-Handel-Martin W. Bush 131 Six Soft Pieces-Six American Composers-Paul Manz .______32 Sortie, (0 Filii et Filiae)-Louis 1. Balogh-Martin W. Bush 133 The Heavens Declare-Robert Wetzler-Martin W. Bush 133 The Peaceful Wood--Hilton Tufty-Martin W. Bush 133 Thirty~six Short Preludes and Postludes on Well Known Hymn Tunes- Healey Willan-Sister Theophane .______95 Toccata and Hymn-William McHarris-Martin W. Bush 133 Twelve Pieces for Organ-Jan Nieland-Paul Manz .__ c______32 Twelve Organ Interludes on Gregorian Themes-Sister M. Gilana, O.S.F. Martin W. Bush __ . .______132

OTHER MUSIC Ave Maria-Flor Peeters-Dr. Lavern Wagner . .______91 .Christ Is King-C. Alexander Peloquin-Dr. Lavern Wagner . .____ 91 Chorale-Fantasy on "Christ, the Lord Has Risen"-Flor Peeters-Paul Manz ._____ 32 Magnificat-Plor Peeters-C. Alexander Peloquin ------c------.------86 Now Joined By God-J. S. Bach-George T. Carthage ------c-----.------31 Nunc Ad Coronas Pergite-Flor Peeters-Dr. Lavern Wagner -______91 o Lord, Who Showed Us-C. Alexander Peloquin-Dr. Lavern Wagner ._____ 91 One Faith in Song-World Library of Sacred Music-David Greenwood ._____ 88 One Fold, One Shepherd-Camil Van Hulse-Dr. Lavern Wagner . ._____ 92 One Fold, One Shepherd-John Larkin-Dr. Lavern Wagner ._____ 92 One Fold, One Shepherd-Russell Woollen-Dr. Lavern Wagner 92 Pater N oster-Flor Peeters-Dr. Lavern Wagner __ . ._____ 90 The Canticle of the Sun-Noel Goemanne-Dr. Lavern Wagner ._____ 92 The First to Hear-M. Alfred Richsel-Dr. Lavern Wagner 91 The Lord's Prayer-Noel Goemanne-Dr. Laverne Wagner 90 Tricinia Sacra-,-Ed. Rev. Eugene Lindusky-David Greenwood 87 Twelve Carols for Christmas-Arr. Sister M. Elaine-Sister Theophane 94 Wedding Psalm, Psalm 127-Arr. Jeno Takacs-George C. Carthage 32 What Child Is This-Arr. Han Van Koert-Sister Theophane 94 While Shepherds in Meadows-Trappistine Nun-Sister Theophane 94

RECORDS ANew Recording by the Boys Town Choir-William Ripley Dorr 133 Demonstration English Mass~Dennis Fitzpatrick-Francis Schmitt ------______134 Aims oj the Society of Saint Caecilia

1. To devote itself to the understanding and further propagation of the Motu Proprio "Inter Pastorales Officii Sollicitudines" of St. Pim X, Nov. 22, 1903; the constitution "Divini Cultum Sanctitatem" of Pius XI, Dec. 20, 1938; the encyclical "ME:dia­ tor Dei" of Pius XII, Nov. 20, 1947; the encyclical "Musicae Sacrae Disciplina" of Pius XII, Dec. 25:~ 1955.

2. To seek the cultivation of Gregorian Chant, of Polyphony, of modem and especially contemporary music, of good vernacular hymns, of artistic organ playing, of chur(:h music research.

3. To foster all efforts toward the improvement of church musi. cians: choinnasters and choirs, organists, composers and pub­ lishers of liturgical music, and through all of these a sound musical approach to congregational participation.

4. To publish its journal, "Caecilia", and to establish a non-com·, mercial repertory service.

5. To gain without fees, the following memberships:

a) Individual members (persons active in liturgical music>,

b) Group members (an entire choir)

c) Sustaining members (subscribers to Caecilia)

For further information write: CAECILIA, 3558 Cass St., Omaha 31, Neb..-. "Thus with the favor and under the auspices of the Church the study of sacred music has gone a long way over the course of the centuries. In this journey, although sometimes slowly and la­ boriously, it has gradually progressed from the simple and ingenious Gregorian modes to great and magnificent works of art. To these works not only the human voice, but also the organ and other musi. cal instruments, add dignity, majesty and a prodigious richness.

The progress of this musical art clearly shows how sincerely the·Church has desired to render divine worship ever more splendid and more pleasing to the Christian people. It likewise shows why the Church must insist that this art remain within its proper limits and must prevent anything profane and foreign to divine worship from entering into sacred music along with genuine progress, and perverting it."

Pius XII-Mus. Sac. Disc.

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